Keyboard Syllabus 2015-18 PDF

Electronic Keyboard
& Organ Syllabus

Electronic Keyboard, Electronic Organ
& Organ
Grade exams
20152018
Trinity College London

www.trinitycollege.com
Charity number 1014792
Patron HRH The Duke of Kent KG
Chief Executive Sarah Kemp
Copyright 2014 Trinity College London
Published by Trinity College London
Online edition, 25 April 2017
Contents
Introduction......................................................................................................................... 3
Why take a Trinity graded exam?....................................................................... 4
Range of qualifications............................................................................................... 5
About the exam................................................................................................................ 6

Exam structure and mark scheme.................................................................................... 6
Pieces......................................................................................................................................... 7
Instruments.............................................................................................................................10
Electronic keyboard glossary of chords.........................................................................12
Own composition................................................................................................................... 13
Mark scheme for pieces.......................................................................................................14
Technical work........................................................................................................................15
Supporting tests:...................................................................................................................16
Sight reading..................................................................................................................... 17
Aural....................................................................................................................................21
Improvisation...................................................................................................................24
Musical knowledge.........................................................................................................28
Requirements:
Electronic keyboard
(subject code EK).................................. In 1 2 3 4 5 6 7 8
Electronic organ (subject code EO)... In 1 2 3 4 5 6 7 8
Organ (subject code OGN)............................. 1 2 3 4 5 6 7 8
Information and regulations..................................................................................78
Music publishers............................................................................................................82
Trinity publications..................................................................................................... 84
Introduction
I am delighted to introduce this syllabus containing details of grade exams for keyboard instruments.
Like all Trinity College London (Trinity) syllabuses, this syllabus is designed to enable candidates
of all levels and abilities to demonstrate their skills in a way that suits their individual needs as
learners. It does this by offering unrivalled flexibility of choice within each section of the exam, as
well as giving candidates the opportunity to express their own musical identities through options to
improvise and perform original compositions. Underpinning these innovative features is a uniquely
diagnostic mark scheme, ensuring that candidates receive precise and specific feedback to inform
their continued learning.
Trinity aims to treat each candidate individually when considering how we can make our exams
accessible to all, recognising that requirements vary. Please visit www.trinitycollege.com/music
(our website) for more information or contact us directly to discuss any specific requirements.
We hope you enjoy exploring the music on offer in this syllabus, and we wish you every success in
your exams and wider music-making. Further information on all our exams, as well as additional
supporting materials for teachers and candidates, can be found on our website.
Francesca Christmas
Head of Academic Governance Music
Trinity accepts entries for its exams on the condition that candidates conform to the requirements of
the appropriate syllabus. Any amendments to the requirements will be published and advertised via
our website and in subsequent imprints.
Trinity College London is an awarding body recognised by the Office of Qualifications and Examinations
Regulation (Ofqual) in England and Northern Ireland, and by Qualifications Wales (QW). Trinitys
qualifications are regulated by these authorities within the Regulated Qualifications Framework (RQF).
Various arrangements are in place with governmental education authorities worldwide.
In the UK, Trinitys Grade 68 exams can contribute towards entry into higher education through the
allocation of UCAS points. Please see our website for full details.
3
Back to contents
Why take a Trinity grade exam?
Recognising that there is no single approach to musical assessment, Trinitys grade exams are guided
by a core philosophy of flexibility, placing the needs of individual candidates at the heart of the exam.
This is done by:
offering freedom of choice within the exam to enable candidates to play to their strengths
examining real musical skills that are specific to each instrument or the voice
a
llowing candidates to express their own musical identities through options to improvise
and present original compositions
u
sing a diagnostic mark scheme, offering precise and specific feedback to inform
continued learning
linking closely with Trinitys other music qualifications to provide flexible progression routes
d
rawing on Trinitys many relationships around the world to feature repertoire inspired by a range
of musical genres, as well as exciting new works by up-and-coming composers.
As well as incorporating these innovative features, Trinitys grade music exams are delivered by
a panel of friendly examiners who are rigorously trained and standardised. This aims to create a
positive and personalised experience for all candidates.
4
Back to contents
Range of qualifications
Trinitys music qualifications offer flexible progression routes from beginner to advanced levels in a
range of musical genres. All are designed to help candidates develop as musicians according to their
individual needs as learners.
Grade exams assess a broad range of musicianship skills, including performance, while certificate
exams focus entirely on performance, including separate marks for stagecraft. Candidates can enter
any combination of grade or certificate exams, and do not need to pass any particular level in order to
proceed to a higher level.
Each level features an equivalent grade theory exam, supporting candidates in developing their
understanding of the technical language of music. However, no theory qualifications or other
prerequisites are required to enter grade or certificate exams at any level.
After Grade 8 or the Advanced Certificate, candidates can progress to diplomas at associate (ATCL),
licentiate (LTCL) and fellowship (FTCL) levels. These assess higher skills in performance, teaching,
theory and composition. Adults who work as music educators may also wish to consider Trinitys Level
4 Certificate for Music Educators (Trinity CME).
This syllabus focuses on grade exams in keyboard instruments. Visit our website for more information
about other grade exams, certificate exams, diplomas, the Trinity CME, and Music Tracks an initiative
designed to support teachers in delivering large- and small-group instrumental tuition.
RQF* EQF** Classical Rock Theory Music Solo Group

Level Level & Jazz & Pop & Written Tracks Certificate Certificate
7 7 FTCL FMusTCL
6 6 LTCL LMusTCL
ATCL AMusTCL
4 5 Certificate for Music Educators
(Trinity CME)
3 4 Grade 8 Grade 8 Grade 8 Advanced Advanced
Grade 7 Grade 7 Grade 7
2 3 Grade 5 Grade 5 Grade 5 Intermediate Intermediate
1 2 Grade 3 Grade 3 Grade 3 Foundation Foundation
Grade 2 Grade 2 Grade 2 Track 2
Grade 1 Grade 1 Grade 1 Track 1
Entry
1 Initial Initial Initial Track
Level 3
Entry First Access
Levels 12 Track
* Regulated Qualifications Framework in England, Not RQF or EQF accredited

Wales and Northern Ireland
** European Qualifications Framework
5
Back to contents
About the exam
Exam structure and mark scheme
InitialGrade 5 Max. marks Grades 68 Max. marks
Piece 1 22 Piece 1 22
Technical work* 14 Technical work* 14

ither:
E Either:
i) scales and chord i) scales and chord
knowledge knowledge
or or
ii) exercises ii) exercises
Supporting tests 10 Supporting test 1 10
Any TWO of the 10 sight reading
following:
Supporting test 2 10
sight reading
One of the following:
or
aural improvisation
or or
improvisation aural
or
musical knowledge
Total 100 100
* Electronic organ and organ technical work does not include exercises.
Comments and marks are given for each section of the exam, up to the maximums listed in the table
above. It is not necessary to pass all sections or any particular section in order to achieve a pass
overall. The total mark for the exam corresponds to different pass/below pass bands as follows:
Overall mark Band

87100 Distinction
7586 Merit
6074 Pass
4559 Below pass 1
044 Below pass 2
6
Back to contents
About the exam
Candidates may present the sections of the exam in an order of their choice, and should indicate their
preferred order on the appointment form. This should be given to the examiner at the start of the
exam. If no preference is indicated, pieces are heard first in exams for accompanied instruments, and
technical work is heard first in exams for unaccompanied instruments.
Exams are designed to allow sufficient time for setting up and presenting all sections.
Level Exam duration (minutes)

Initial 13
Grade 1 13
Grade 2 15
Grade 3 15
Grade 4 20
Grade 5 20
Grade 6 25
Grade 7 25
Grade 8 30
Pieces
Electronic keyboard
Piece choice and programming
Candidates must perform three pieces, and are encouraged to present a balanced programme.
C
andidates may choose any three pieces from those listed for the grade. InitialGrade 5 candidates
may substitute one piece for an own composition (see page 13). Grades 68 candidates may
substitute one piece for an own composition (see page 13), or for a piece of their own choice, or for
their own arrangement of a piece of their own choice (either a keyboard or a non-keyboard piece).
O
wn choice pieces and arrangements must be comparable in technical and musical demand to the
pieces listed at the same grade. Pre-approval of own choice repertoire is not required, but marks
may be deducted if the demands of the piece are not appropriate for the grade.
T
he lists contain pieces where there is greater opportunity for more individual interpretation and
also pieces with substantial opportunities for improvisation.
Own interpretation
T
he aim of these pieces is to allow the candidate to create a personal arrangement with as much
artistic and musical flair as possible in line with the expectations for the grade.
V
oice(s) and style are chosen by the candidate and the music should be adapted by changing
rhythm, register or even harmony to produce a creative response.
A
uto intros/endings are not permitted, although the candidate may compose and perform their
own intro/ending.
7
Back to contents
About the exam
Improvisation
The aim of the improvisation pieces is to encourage creativity and originality.
C
andidates must not bring additional notation or written-out solos to the exam and the
improvising must have a sense of spontaneity.
Chords
S
ingle or fully fingered chords can be used at the candidates discretion, though at higher grades
the chords required may not be available as single fingered chords.
C
andidates are free to use their judgement in choosing spacing and arrangement of the notes
according to the most convenient fingering.
Set up
E
fficient setting up is a major part of the technique of the instrument and is expected to be
carried out quickly and efficiently in all exams.
M
arks may be deducted for unnecessary delays in setting up for any part of the exam, including
protracted delays at the start or between items, or restarts due to improper set-up.
A
t the end of each piece the candidate should begin setting up for the next piece. Please set up
for the next piece is clearly marked in the music at the end of each piece in Trinity publications as
a reminder.
Electronic organ
C
andidates may choose any three pieces from those listed for the grade. Candidates may substitute
one piece for an own composition (see page 13), or for a piece of their own choice. Own choice
pieces must be comparable in technical and musical demand to the pieces listed at the same grade.
Pre-approval of own choice repertoire is not required, but marks may be deducted if the demands
of the piece are not appropriate for the grade.
Organ
Pieces by at least two composers should be played.
P
ieces are divided into two groups: group A and group B. Candidates must choose at least one
piece from each group. The third piece may be chosen from either group, or may be the candidates
own composition (see page 13).
All instruments
Performance and interpretation
All pieces must be prepared in full unless otherwise stated.
Repeats of more than a few bars should not be played unless otherwise stated.
All da capo and dal segno instructions should be observed.
Cadenzas should be omitted unless otherwise stated.
Candidates are encouraged to use appropriate ornamentation, particularly at Grades 68.
8
Back to contents
About the exam
A
ll tempo and performance markings should be observed (eg Allegro, rall., cresc.).
Metronome marks are given as a guide but do not need to be observed exactly, as long as the style
and character of the piece is maintained.
C
andidates may perform any or all of their pieces from memory, although this is not compulsory
and no additional marks are given for this.
Page turns
T
he examiner will not be able to act as a page turner. Difficult page turns may be overcome by
photocopying the relevant pages.
A
page turner may assist at Grades 68, but may only remain in the exam when required to
turn pages.
Music and copies

C
andidates are responsible for obtaining the music for their exam in good time prior to entering.
Candidates are advised to check the availability of pieces before deciding to perform them.
R
ecommended editions are listed in the syllabus, but candidates may perform from any edition as
long as it has not been shortened or otherwise simplified. Where a particular edition must be used,
this is indicated in the syllabus. Product codes for publications are included where available.
G
uidelines regarding the legitimacy of all forms of sheet music can be obtained from the UK Music
Publishers Associations Code of Fair Practice, available at www.mpaonline.org.uk . Candidates must
comply with copyright and other intellectual property laws in the country where the exam is
taking place.
In accordance with the Code of Fair Practice, candidates must produce original copies of all pieces
to be performed at the exam, even if pieces have been memorised, handwritten or typeset. Pieces
where no original copy has been provided may be awarded no marks.
C
andidates must provide photocopies of all pieces, except pieces taken from Trinity publications,
to be performed as a reference for the examiner. Photocopies will be retained by the examiner and
destroyed after the exam.
W
here music has been downloaded, candidates must bring proof of purchase or the web address
where it was accessed for the examiners reference.
9
Back to contents
About the exam
Instruments
Electronic keyboard
C
andidates are responsible for providing their own keyboard, music stand, keyboard stand, power
adaptor and seat (if required).
A
mains power supply will be available at centres but candidates should check with the
representative to ensure it is within easy reach of the instrument.
Candidates are responsible for the electrical safety of any equipment used in their exam.
T
he steward will normally be responsible for assisting with the setting up and removal of the
instrument but the candidate should have a full working knowledge of the set up procedure.
It is recommended that instruments have the following specification:
range: minimum 4 octaves (InitialGrade 1); minimum 5 octaves (Grades 28)
keyboard: full-size keys
capability from Grade 2: minimum 16-note polyphonic capacity; a range of individual
voices and rhythm styles; dual voice/layer
from Grade 3: registration memory; touch sensitivity option
from Grade 5: left split point
from Grade 6: a minimum of 8 registrations which can be pre-programmed
before the exam; touch sensitivity (compulsory); left voice; accompaniment
split point; pedal function with different settings to include sustain, registration
change, fill, rhythm start/stop; pitch bend function with moveable range; octave
transpose for both right and left voices; chord settings to include fingered
chords, fingered on bass and full keyboard chords.
A
ll pieces and tests will be assessed on the musicality of the candidates performance and not on
the capacity of the instrument itself. However, performances that fail to realise a large amount of
the performance information on the printed score will not be able to attract high marks.
C
andidates may therefore adapt the music, making use of the resources available. Any changes
must not substantially alter the character of the pieces (eg changing Clarinet/March to Electric
Guitar/Ballad).
U
p to and including Grade 2, candidates using keyboards without registration memory may
find it necessary to alter the voice from that stipulated in the music to facilitate quick changes;
for example, by selecting voices with near or adjacent menu locations which give a noticeable
voice change.
T
he ability to use dual voice and to program voice changes is important to build a musically
interesting performance.
T
he use of volume control is important to add interest and shape and should follow the dynamics
marked in the score. Volume may be varied manually, through foot pedals, or through a touch
sensitive keyboard setting as appropriate.
T
he use of Accompaniment B and, optionally, Accompaniments C and D at Grades 68, can also
add a feeling of climax and direction.
L
eft and Accompaniment Split Point functions are required at Grades 68. Pieces which require
these functions have split points suggested for 5 octave keyboards where middle C is C3.
10
Back to contents
About the exam
G
uides for use of Octave Transpose on 5 octave keyboards are printed on Grades 68 pieces
which require this function.
F
urther guidance on keyboard functions and a glossary of terms for InitialGrade 8 are provided
on our website.
C
andidates may introduce further changes according to the capabilities of their instrument,
as long as they are musically appropriate.
A
uto intros/endings may only be used where indicated and must be integrated within the style
and instrumentation of the piece. They should not exceed four bars in length.
P
re-recorded material is not permitted in electronic keyboard exams, but registration memory
facilities may be used.
Electronic organ
A
rrangements over instruments must be discussed and agreed with the representative well in
advance of the exam date.
Instruments must be installed before the start of the exam day and not removed until the end.
Instruments must have a pedal board with a compass of at least one octave.
Candidates have freedom of registration as appropriate to the music played.
Style should be used at all levels where this enhances the performance.
E
lectronic organs may be pre-programmed with the following only (the use of disks to facilitate
this is acceptable):
control data
registration changes
pedal functions
footswitches
knee lever.
The repertoire for electronic organ and organ is not interchangeable.
Organ
A
rrangements over instruments, venue and location must be discussed and agreed with the
representative well in advance of the exam date.
Instruments must be installed before the start of the exam day and not removed until the end.
If the exam is held in a public building, arrangements must be made to ensure there is no
audience present.
C
andidates may play a conventional pipe organ, a pipeless analogue electronic organ, or a
computer organ.
C
andidates should always check that the instrument they are using is adequate for the
requirements of the pieces they are performing in the exam.
Candidates have freedom of registration as appropriate to the music played.
Memory features other than adjustable pistons and the use of sequencers are not permitted.
The repertoire for organ and electronic organ is not interchangeable.
11
Back to contents
About the exam
Electronic keyboard glossary of chords

The glossary of chords below indicates the meanings of the chord symbols used in pieces published
by Trinity. It is not intended that these examples represent the way each chord must be arranged
within the pieces; candidates should use their judgement to choose spacing and arrangement of
the notes according to the most convenient fingering. Single fingered or fully fingered chords can
be used at the candidates discretion, though in the higher grades the chords required may not be
available as single fingered chords.
The following examples indicate the meaning of the chord requirements across InitialGrade 8.
C C C6 C6 C7 C7 C7
C7(b5) C C7 C& C9 C'9 C9

8

C7(#5) C7(b9) C4 C2 C7(b5) C/G

15

This glossary of chords is also provided on our website.
12
Back to contents
About the exam
Own composition
Candidates can choose to present an own composition as one of their pieces. The focus of the
assessment for this is on performance, using the same assessment criteria as for all other pieces.
Marks will not be awarded for the quality of the composition.
Candidates should note that:
t he technical and musical demands of the own composition must be comparable to the pieces
listed at the same grade
o
wn compositions should largely be candidates unaided work, although teachers may offer
guidance as necessary
o
wn compositions at InitialGrade 5 may be notated in any coherent form, including graphic
score or lead sheet. Own compositions at Grades 68 must be notated on a stave. Marks will be
deducted if notation is incomplete or inaccurate, or if the performance varies significantly from
the notation
notation may be handwritten, typeset or produced electronically
a copy of the own composition must be given to the examiner at the start of the exam.
Durations and compositional brief for own composition
Grade Duration Requirements

(minutes)
Initial 12 A piece containing sudden changes
Grade 1 1.52.5 A piece containing sudden dynamic contrast
Grade 2 1.52.5 A piece contrasting legato and staccato passages

A piece which starts quietly and simply, and builds
Grade 3 1.52.5
to a loud, grand climax
Grade 4 2.53.5 A piece with long melodic phrases
Grade 5 2.53.5 A piece containing many wide leaps
Grade 6 3.54.5 A piece containing use of the pitch bend function
Grade 7 3.54.5 A piece featuring legato 3rds in the right hand

A piece incorporating fingered on bass chords
Grade 8 4.55.5
(chords sounding in inversions)
Durations and compositional brief for own composition Grade 68 organ
Grade Duration Requirements

(minutes)
Grade 6 3.54.5 A piece featuring the pedals
Grade 7 3.54.5 A piece featuring octaves in both hands
Grade 8 4.55.5 A piece featuring at least two contrapuntal voices
13
Back to contents
About the exam
Mark scheme for pieces

Each piece is awarded three separate marks corresponding to three different musical components,
allowing candidates to receive precise feedback about specific aspects of their performance. These
marks combine to give an overall mark for the piece.
The three components are as follows:
f luency and accuracy: the ability to perform fluently, with a stable pulse and with an accurate
realisation of the notation
t echnical facility: the ability to control the instrument effectively, encompassing the various
technical demands of the music
c ommunication and interpretation: the interpretation of the music and the way the performance
conveys a sense of sylistic understanding and audience engagement.
Marks are awarded for these to form a maximum total mark for each piece as follows:
Maximum mark
Fluency and accuracy 7
Technical facility 7
Communication and interpretation 8
Total mark for each piece 22
Total marks awarded for pieces correspond to the pass/below pass bands as follows:
Total mark for each piece Band

1922 Distinction
1618 Merit
1315 Pass
1012 Below pass 1
39 Below pass 2
Further information about this mark scheme and the assessment criteria that support it is available
on our website.
14
Back to contents
About the exam
Technical work
This section of the exam supports the development of technical skills by assessing candidates
performance in a range of technical work options.
Electronic keyboard
Candidates choose one of the following options:
scales and chord knowledge

exercises
Scales and chord knowledge should be performed:
on a piano voice

from memory
with no additional voice, accompaniment, rhythm or metronome click
with the master volume set to 5075% of maximum resulting in a mf to f dynamic level
in similar motion, except where stated [scales]
a
scending and descending, with the right hand one octave higher than the left hand unless
otherwise stated [scales]
an octave higher or lower if necessary to accommodate the range of the instrument
a
t the required tempo see the tempi listed at each grade and in the relevant Trinity
book [scales].
Electronic organ and organ

Scales and arpeggios are to be performed from memory.
In the organ syllabus, music may be used for the pedal study at Grades 68.
In the electronic organ syllabus, pedal sustain, if present, should be switched on for scales
and arpeggios.
Further information about specific technical work requirements for each grade is given in the
relevant sections of this syllabus.
Mark scheme
Technical work is awarded a single mark that corresponds to the pass/below pass bands as follows:
Mark Band
1314 Distinction
1112 Merit
910 Pass
78 Below pass 1
16 Below pass 2
Information about the assessment criteria that support this mark scheme is available on our website.
15
Back to contents
About the exam
Supporting tests
This section of the exam supports the development of broader musical skills by assessing candidates
in two different supporting tests. At InitialGrade 5, candidates must choose two supporting tests
from the following options:
sight reading
aural
improvisation
musical knowledge
At Grades 68, all candidates are assessed in sight reading, and must choose between aural and
improvisation for their second supporting test.
Mark scheme
Each supporting test is awarded a single mark that corresponds to the pass/below pass bands
as follows:
Mark Band
910 Distinction
8 Merit
67 Pass
45 Below pass 1
13 Below pass 2
Information about the assessment criteria that support this mark scheme is available on our website.
16
Back to contents
About the exam
Sight reading
This test assesses candidates ability to perform an unseen musical extract, at a level approximately
two grades lower than the exam being taken.
After setting up their instrument, candidates are given 30 seconds to study the test before
performing it, during which time they may practise any or all of it aloud. The examiner does not mark
this preparation period.
Examples of sight reading tests for InitialGrade 5 can be found in Trinitys Sound at Sight series,
available from www.trinitycollege.com/shop or your local music retailer.
Candidates for electronic keyboard InitialGrade 5 exams may choose between two different
ways of performing the sight reading test; either with single-fingered chords with rhythm and
accompaniment, or with fully-fingered chords without rhythm. Candidates for Grade 68 exams
must perform the sight reading test using fully-fingered chords with rhythm and accompaniment.
Specimen sight reading tests for Grades 68 are available to download from our website.
Tests comply with the musical parameters listed in the table overleaf. Lists are cumulative, meaning
that tests may also include requirements from preceding grades.
17
Back to contents
About the exam
Sight reading parameters for electronic keyboard
Grade Keys Time Chords Note Dynamics Other

signatures values
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
five-finger
hand
Initial C major 2 q and h mf
position
only
five-finger
_ and _ hand
Grade 1 4 I,V f
position (RH
not tonic)
change of
hand
Grade 2 A minor 3 IV h. and p position
within
octave
F and G
major;
Grade 3 D minor VI w , q. and e
(including
C#)
D major;
7 two-part
Grade 4 B and E V
right hand
minor
A and Bb
x and
three-part
Grade 5 major; 6 right hand
C minor
all common right-hand
chords and chords of
Eb major; mp , cresc.,
dominant 7th three notes
Grade 6 F# and 8 grace notes
chords, minor 7th dim. or more,
G minor
chords on white spread
root notes only chords
minor 7th chords

E and Ab
on black notes, dotted
Grade 7 major; 1 and " major 7th chords semibreves
F minor
on white notes
major 7th chords

B and Db
Grade 8 on black notes, duplets, triplets
major
diminished chords
* Tests may also include requirements from preceding grades.
18
Back to contents
Sight reading requirements for electronic organ
Grade Keys Time signatures Note values Tempi and Manuals Pedals Registration
articulation
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
two manuals to be
five-finger hand used throughout;
Initial C major q and h moderato contrasting sounds
2 position only
on both manuals; mf
G major; remains within

Grade 1 A minor 4 w and _ legato hand position (not
(white notes only) necessarily C)
allegretto and
Grade 2 h. and ties two-part texture
3 simple phrasing
F major; andante and

white notes
Grade 3 D minor more intricate
e, and _ only
(including C#) phrasing
D and Bb major; q. and staccato and
Grade 4 E and D minor three-part texture all notes
Back to contents
accents
(plus accidentals)
A and Eb major; more varied
rall., accel., more
texture and solo voice on
x and ;;
B and G minor
Grade 5 dotted notes a tempo independent
(including 6 some further upper manual
and rests and pause pedal part
modulation) chromaticism
any common full use of use of swell pedal;

Grade 6 F# and C minor 8 terms and signs pedals cresc.; dim.; pp and ff
E and Ab major;
Grade 7 9
C# and F minor
B andDb major;
G# and Bb minor plus duplets/ changes of
22 and
Grade 8 changing
(including double triplets registration
time signatures
sharps and flats)
19
About the exam

Sight reading requirements for organ
20
Grade Keys Time Note values Tempi and Manuals Pedals Registration
signatures articulation
(cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
C major, G major, remains within

About the exam
moderato and single manual;

Grade 1 A minor (white q , h , w and _ hand position (not
2 and 4 legato 8 only; mf
notes only) necessarily C)
allegretto and
Grade 2 h. and ties two-part texture
3 simple phrasing
two manuals
andante and notes between A2 (hands on the
F major; D minor
Grade 3 more intricate and G3 inclusive same manual);
(including C#) e, and _
phrasing (toes only) 4; p and f;
pedal couplers
D and Bb major; notes between F2

q. and staccato, accents manual couples;
Grade 4 E and D minor three-part texture and C4 inclusive
and pause 2; 16
(plus accidentals) (toes only)
hands on
A and Eb major; more varied toe and heel
separate
Back to contents
rall., accel. texture and signs and more
x and ;;
B and G minor
Grade 5 dotted notes manuals;
(including 6 and a tempo some further independent
and rests change of
modulation) chromaticism pedal part
manual
adjacent notes use of swell
any common
Grade 6 F# and C minor with same foot; pedal, cresc.,
8 terms and signs
staccato; legato dim., pp and ff
full use of pedals

E and Ab major; more complex throughout range,
Grade 7
C# and F minor 9 textures including
crossing feet
B andDb major; ! and

G# and Bb minor changing changes of
Grade 8 duplets/triplets
(including double time registration
sharps and flats) signatures
About the exam
Aural
The parameters for aural tests have changed. Changes apply to all exams taken from 1 January 2017
onwards. Please note that there is no overlap for supporting tests, and the previous aural tests cannot
be offered after 31 December 2016.
This test supports the development of candidates abilities in the field of musical perception by
assessing their responses to carefully graded questions. Questions are detailed in the table below and
based on a single musical example, performed at the piano by the examiner. Practice tests can be
found in Trinitys Aural Tests from 2017 books, available from www.trinitycollege.com/shop or your
local music retailer.
Grade Parameters Task Response

Listen to the melody three Clap the pulse on the third playing,
times stressing the strong beat
melody only
4 bars Listen to the melody once Identify the dynamic as forte or piano
Initial
major key
Identify the articulation as legato or
Listen to the melody once
staccato
2
Listen to the first three
Identify the highest or lowest note
notes of the melody once
Listen to the melody Clap the pulse on the third playing,

three times stressing the strong beat
melody only i) Identify the dynamic as forte or piano

Listen to the melody once ii) Identify the articulation as legato or
4 bars staccato
Grade 1
major key Listen to the first two bars Identify the last note as higher or lower
of the melody once than the first note
2 or 3
Listen to the melody twice,
with a change of rhythm or Identify where the change occurred
pitch in the second playing
Listen to the melody Clap the pulse on the third playing,

three times stressing the strong beat
melody only i) D
escribe the dynamics, which will vary
during the melody
4 bars Listen to the melody once
ii) Identify the articulation as legato or
Grade 2 major or staccato
minor key
Identify the last note as higher or lower
Listen to the melody once
than the first note
2 or 3
Listen to the melody twice,
i) Identify where the change occurred
with a change of rhythm or
ii) Identify the change as rhythm or pitch
pitch in the second playing
21
Back to contents
About the exam

Clap the pulse on the second playing,
Listen to the melody twice
stressing the strong beat
melody only Listen to the melody once Identify the tonality as major or minor
4 bars
Listen to the first two notes of Identify the interval by number only
Grade 3 major or
the melody once (second, third, fourth, fifth or sixth)
minor key
Study a copy of the melody
3 or 4 (provided in treble, alto or bass
i) Identify the bar in which the
change occurred
clef as appropriate), and listen to
ii) Identify the change as rhythm
it once as written and once with
or pitch
a change of rhythm or pitch
Clap the pulse on the second playing,

Listen to the piece twice
stressing the strong beat
i) Identify the tonality as major

or minor
harmonised ii) Identify the final cadence as perfect
or imperfect
4 bars
Identify the interval as minor or major
Grade 4 major or Listen to the first two notes of
second, minor or major third, perfect
minor key the melody once
fourth or fifth, minor or major sixth
4 or 6 Study a copy of the melody

(provided in treble, alto or bass i) Identify the bar in which the change
clef as appropriate), and listen of rhythm occurred
to it once as written and once ii) Identify the bar in which the change
with a change of rhythm and a of pitch occurred
change of pitch
i) Clap the pulse on the second playing,

Listen to the piece twice stressing the strong beat
ii) Identify the time signature
i) Identify the changing tonality

harmonised Listen to the piece twice ii) Identify the final cadence as perfect,
plagal, imperfect or interrupted
8 bars
Grade 5 major or Identify the interval as minor or major
minor key Listen to two notes from the second, minor or major third, perfect
melody line played consecutively fourth or fifth, minor or major sixth,
2, 3, 4 or 6 minor or major seventh or octave
Study a copy of the piece, and

i) Identify the bar in which the change
listen to it once as written and
of rhythm occurred
once with a change of rhythm
ii) Identify the bar in which the change
and a change of pitch (both
of pitch occurred
changes in the melody line)
22
Back to contents
About the exam
i) Identify the time signature

Listen to the piece twice ii) C omment on the dynamics
iii) C omment on the articulation
Identify and comment on two other

harmonised Listen to the piece twice
characteristics of the piece
8 bars
Grade 6
major key Identify the key to which the music modulates
Listen to the first four as subdominant, dominant or relative minor.
2, 3, 4 or 6 bars of the piece once Answers may alternatively be given as key
names
Study a copy of the

piece, and listen to it Locate and describe the changes as pitch
twice with two changes or rhythm
to the melody line

Listen to the piece twice ii) C omment on the dynamics
iii) C omment on the articulation
harmonised
Identify and comment on two other
8 bars characteristics of the piece
Grade 7 major or
minor key Identify the key to which the music
Listen to the first four modulates as subdominant, dominant or
2, 3, 4 or 6 bars of the piece once relative key. Answers may alternatively be
given as key names
Study a copy of the

Locate and describe the changes as pitch
piece, and listen to it
(melody line only) or rhythm
twice with three changes

Listen to the piece once ii) Comment on the dynamics
harmonised iii) Comment on the articulation
1216 bars
Identify and comment on three other
Grade 8 major or Listen to the piece twice
characteristics of the piece
minor key
2, 3, 4, 6 or 5 Study a copy of the

Locate and describe the changes as pitch
piece, and listen to it
or rhythm
twice with three changes
23
Back to contents
About the exam
Improvisation
The requirements for the improvisation test have changed. Changes apply to all exams taken from
1 January 2017 onwards. Please note that there is no overlap for supporting tests, and the previous
improvisation test cannot be offered after 31 December 2016.
This test assesses candidates ability to improvise fluently, coherently and creatively in response to a
musical stimulus. Candidates must choose a stimulus from the following three options, indicating their
choice of stimulus on the appointment form:
stylistic
motivic
harmonic
At all levels, responses should use both hands. A piano voice should be used. Single fingered
chords or fully fingered chords can be used at the candidates discretion.
Stylistic stimulus
The stylistic stimulus requires candidates to improvise over a notated piano part played by the
examiner. Candidates are given a stimulus which includes the notated piano part and chord symbols.
The stimulus begins with a two-bar introduction played by the examiner alone, followed by a further
section over which candidates must improvise for a specified number of repeats. In the exam, the
examiner plays the stimulus twice for candidates reference, without repeats. Candidates are then
given 30 seconds preparation time, during which they may prepare for their improvisation aloud if
they wish. The test then follows. The examiner then plays the stimulus again, and candidates join after
the introduction, improvising for the specified number of repeats. Candidates should aim to improvise
in a way that complements the musical idiom of the stimulus.
Motivic stimulus
The motivic stimulus requires candidates to improvise unaccompanied in response to a short melodic
fragment. Candidates are given a notated melodic fragment which the examiner plays twice on the
piano for candidates reference (candidates are not required to play this back). Candidates are then
given 30 seconds preparation time, during which they may prepare for their improvisation aloud if
they wish. The test then follows. Candidates should aim to improvise within the specified duration
range and may begin by quoting the stimulus directly, developing their improvisation from there.
However, candidates are not required to quote the stimulus directly, and may instead develop their
improvisation from ideas taken from the stimulus such as a small group of notes or an interval.
Harmonic stimulus
The harmonic stimulus requires candidates to improvise unaccompanied in response to a chord
sequence. Candidates are given a notated chord sequence, including chord symbols, which the
examiner plays twice on the piano for candidates reference. Candidates are then given 30 seconds
preparation time, during which they may prepare for their improvisation aloud if they wish. The test
then follows. Candidates should improvise for the specified number of repeats, following the chord
sequence. Responses should contain melodic/rhythmic interest. Please note that this test is always
unaccompanied and the examiner will not provide a piano accompaniment for melodic instruments.
Parameters for improvisation
All stimuli comply with the musical parameters listed in the tables on the following pages. Lists
are cumulative, meaning that tests may also include requirements from preceding grades. Further
guidance and example stimuli can be found on our website.
24
Back to contents
Stylistic stimulus
Grade Length of Length of Times improvised Total to Time Keys Number of Chords Styles/speeds
introduction improvised section is played improvise signatures chords per bar
section (cumulative*) (cumulative*) (cumulative*)
Initial 2 bars 4 bars 1 4 bars 4 C major 1 I, V March, Lullaby
Grade 1 2 bars 4 bars 2 8 bars F and G major 1 I, V Fanfare, Moderato
I, IV, V
Grade 2 2 bars 4 bars 2 8 bars A minor 1 Tango, Andante
i, iv, V
D and Bb major I, ii, IV, V
Grade 3 2 bars 4 bars 2 8 bars 3 1 Waltz, Allegretto
D and E minor i, iib5, iv, V
I, ii, IV, V
Grade 4 2 bars 4 bars 3 12 bars 2 G and B minor 1 Adagio, Allegro
i, iib5, iv, V
I, ii, IV, V, vi
Grade 5 2 bars 4 bars 3 12 bars 6 A and Eb major up to 2 Grazioso, Vivace
i, iib5, iv, V, VI
I, ii, IV, V, vi
Grade 6 2 bars 8 bars 2 16 bars 1 F# and C minor up to 2 i, iib5, iv, V, VI Agitato, Nocturne
Back to contents
7ths
I, ii, iii, IV, V, vi

Grade 7 2 bars 8 bars 2 16 bars 9 E and Ab major up to 2 i, iib5, III, iv, V, VI Gigue, Grave
7ths
all chords
Impressionistic,
Grade 8 2 bars 8 bars 2 16 bars 5 C# and F minor up to 2 7ths, 9ths,
4 Irregular Dance
suspensions
25
About the exam
Motivic stimulus
26
Grade Length of Length of Time signatures Rhythmic features Articulation Intervals Keys
stimulus response (cumulative*) (cumulative*) (cumulative*) (cumulative*) (cumulative*)
Initial 2 bars 46 bars 4 minims, crotchets up to minor 3rd C major
About the exam
Grade 1 2 bars 48 bars quavers major 3rd F and G major
Grade 2 2 bars 68 bars dotted notes staccato perfect 4th A minor

D and Bb major
Grade 3 2 bars 68 bars 3 ties perfect 5th
D and E minor
Grade 4 2 bars 812 bars 2 syncopation accents minor 6th, major 6th G and B minor
Grade 5 2 bars 812 bars 6 semiquavers slurs octave A and Eb major

augmented 4th,
Grade 6 1 bar 1216 bars 1 acciaccaturas F# and C minor
diminished 5th
Grade 7 1 bar 1216 bars 9 minor 7th, major 7th E and Ab major
Grade 8 1 bar 1216 bars triplets, duplets sfz all up to major 10th C# and F minor
5
4
Back to contents
Harmonic stimulus
Grade Length of chord Times chord Total to improvise Number of Chords Keys
sequence sequence is played chords per bar
Initial 4 bars 1 4 bars 1 I, V C major

Grade 1 4 bars 2 8 bars 1 I, V
Grade 2 4 bars 2 8 bars 1 I, IV, V C, F, G major
Grade 3 4 bars 2 8 bars 1 I, ii, IV, V
Grade 4 4 bars 3 12 bars 1 i, iv, V
A, D, E, G, B minor
Grade 5 4 bars 3 12 bars 1 i, iv, V, VI
I, ii, IV, V
Grade 6 8 bars 2 16 bars 1 i, iib5, iv, V
7ths
I, ii, iii, IV, V, vi C, F, G, Bb, D, Eb, A major
Grade 7 8 bars 2 16 bars 1 i, iib5, III, iv, V, VI A, D, E, G, B, C, F# minor
7ths
all chords
Grade 8 8 bars 2 16 bars 1
7ths, 9ths, suspensions
Back to contents
27
About the exam
About the exam
Musical knowledge (InitialGrade 5 only)

This test assesses candidates understanding of the pieces being performed, as well as their
knowledge of notation and their instrument. It does this by assessing their responses to carefully
graded questions based on candidates three chosen pieces.
In the exam, candidates are invited to choose which piece they would like to be asked about first.
The examiner then chooses a second piece for the remaining questions. Candidates scores should be
free of annotations which might aid their responses. The examiner usually points to the relevant part
of the score when asking questions. American terms (eighth note, half note, etc) may be used as an
alternative to English terms (quaver, minim, etc).
Example questions and responses are given in the table below. Further guidance is available on
our website.
Grade Parameters Sample question Sample answer

(cumulative*)
Initial What is the pitch name of
Pitch names G
this note?
How many beats are there
Note durations Two
for this note?
Clefs, stave, barlines What is this sign? Treble clef
Identify key/time
What is this called? Time signature
signatures
Musical terms and signs
What is this called? A pause mark
(simple)
Grade 1 Note values What is this note value? Quaver
Explain key/time Four crotchet beats
signatures What does 4 mean? in a bar
Notes on ledger lines What is the name of this note? Bb
Musical terms and signs

What is the meaning of da capo? Go back to the start
(more comprehensive)
Parts of the instrument What are these called? Keys
Grade 2 Metronome marks,
72 crotchet beats per
grace notes and Explain the sign d = 72
minute
ornaments
Intervals What is the interval between
3rd
(numerical only) these notes?
Candidate
Basic posture Show me a good hand position
demonstrates
28
Back to contents
About the exam
Grade Parameters Sample question Sample answer

(cumulative*)
Grade 3 What is the relative major/
Relative major/minor D minor
minor of this piece?
What pattern of notes do
Scale/arpeggio pattern Scale
you see here?
How might you warm up Playing a selection of
Warm up in preparation for playing scales and arpeggios in
this piece? related keys
Grade 4 Modulation to closely What key does this music
A minor
related keys change to?
Name the notes of the
Tonic/dominant triads C, E, G
tonic triad
What is the interval
Intervals (full names) Perfect 5th
between these notes?
Show me the most Here [candidate indicates],
Technical challenges challenging part of this because of the awkward
piece and tell me why leaps
Grade 5 Candidate identifies style of
Comment on the style of
Musical style piece and gives examples of
this piece
stylistic features
Candidate suggests a
How does this piece reflect
musical period and gives
Musical period the period in which it was
examples of how the music
written?
reflects this
Candidate describes form of
Describe the form of
Musical structures piece and identifies relevant
this piece
sections
Name the notes of the
Subdominant triads F, A, C
subdominant triad
29
Back to contents
Electronic Keyboard Initial Subject code: EK
Pieces (3 x 22 marks)
Three pieces are to be played, freely chosen from the list below, to form a balanced programme.
Instead of one piece, candidates may offer an own composition (see page 13).
The following pieces are contained in the book Electronic Keyboard Pieces & Technical Work
20152018 Initial published by Trinity:
Beethoven arr. Proudler Ode to Joy*

di Capua arr. Clarke O Sole Mio
Clarke Rock to the Roll**
Foster arr. Smith Camptown Races
Franck arr. Litten Panis Angelicus
Litten Flea Hop
Smith Country Capers
Trad. arr. Ward The Keel Row
Trad. arr. Proudler What Shall We Do with the Drunken Sailor?
Winner arr. Marsden My Little Dog
* own interpretation ** improvisation
The following alternative pieces are also available:

Composer Piece Book Publisher
Jennings & Homer Titanic Theme Keyed Up, Initial Alfred
Mercury
arr. Litten Bohemian Rhapsody Keyed Up, Initial Alfred
Mozart Don Giovanni The Electronic Keyboard
Collection book 1 Trinity Faber
Parton arr. Litten Jolene Keyed Up, Initial Alfred
Trad. Home on the Range no. 34
(basic version) 34 Well-known Folk Songs Schott ED 12663
Trad. Over the Sea to Skye Keyed Up, Initial Alfred
Trad. arr. Frith Lavender Blue More Making the Grade,
Preparatory Grade Chester
Trad. arr. Frith Ye Banks and Braes More Making the Grade,
Preparatory Grade Chester
Vance & Pockriss Catch a Falling Star The Complete Keyboard
Player book 6 Music Sales AM69998
30
Back to contents
Electronic Keyboard Initial
Technical work (14 marks) (see page 15)

Candidates to prepare in full either section i) or section ii)
either i) Scales & chord knowledge (from memory) the examiner will select from the following:
C major
A minor hands
(candidates choice of either harmonic or
separately
melodic or natural minor)
one piano voice
Pentatonic scale starting on C (5 notes)
min. octave legato with auto-
q = 60 and mf hands accompaniment
C major contrary motion scale
together off
Chromatic scale starting on D R.H. only
Triad of C major and A minor
L.H. only
(root position)
or ii) Exercises (music may be used):
Candidates to prepare all three exercises.
The candidate will choose one exercise to play first; the examiner will then select one of the
remaining two exercises to be performed.
Dreaming keyboard functions exercise
Stepping Out scalic exercise
Clouds pianistic exercise
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work 20152018 Initial
published by Trinity.
Supporting tests (2 x 10 marks)

Candidates to prepare two from:
sight reading aural improvisation musical knowledge
(see page 17) (see page 21) (see page 24) (see page 28)
31
Back to contents
Electronic Keyboard Grade 1 Subject code: EK
20152018 Grade 1 published by Trinity:
Bernstein arr. Clarke Theme from The Great Escape

Kelley arr. Marsden Home on the Range
Litten Its Gonna be Good
Smith Whirling Dervishes**
Trad. arr. Clarke Swing Low, Sweet Chariot*
Trad. arr. Litten The Ash Grove
Trad. arr. Smith Romance de Amor
Trad. arr. Smith Scarborough Fair
Trad. arr. Ward La Cucaracha
Verdi arr. Proudler La Donna e Mobile

Bullard Feeling Fine Piano Time Pieces book 2 OUP
Freedman arr. Fletcher Rock Around the Clock Making the Grade Keyboard, Grade 1 Chester
Hook Gavotte Piano Time Pieces book 2 OUP
Howard arr. Baker Fly Me to the Moon The Complete Keyboard
Jacobs & Casey Summer Nights Keyed Up, Grade 1 Alfred
Leiber & Stoller I Want to be Free Keyed Up, Grade 1 Alfred
Mavers There She Goes The Complete Keyboard
Player book 2 (new revised edition) Wise
Sting Fields of Gold The Complete Keyboard
Trad. arr. Litten Mango Walk Keyed Up, Grade 1 Alfred
32
Back to contents
Electronic Keyboard Grade 1

F and G major
D and E minor (candidates choice of
either harmonic or melodic or natural hands
minor) one separately
Pentatonic scales starting on G and F octave
(5 notes)
piano voice
Chromatic scale in contrary motion min. legato with auto-
starting on D q = 70 and mf hands accompaniment
two together off
C major contrary motion scale
octaves
Triad of F and G major, D and E minor
(root position and first inversion)
L.H. only
Chord of F7 and G7
(root position and first inversion)
Swaying keyboard functions exercise
Spinning Wheel scalic exercise
Parade pianistic exercise
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work 20152018 Grade 1

33
Back to contents
Aloma Robles arr. Smith El Cndor Pasa*

Immel arr. Clarke Theme from Dallas
Litten The Homeward Path**
Petzold attrib. J S Bach
arr. Marsden Minuet in G
Reed arr. Proudler Perfect Day
Saint-Sans arr. Litten The Elephant from The Carnival of the Animals
Sanders arr. Smith Adis Muchachos
Strauss II arr. Ward Tritsch-Tratsch Polka
Trad. arr. Proudler Skye Boat Song
Trad. arr. Ward Yellow Bird

Andersson & Ulvaeus The Winner Takes it All The Complete Keyboard
Blake Walking in the Air The Electronic Keyboard
Lloyd Webber Memory The Electronic Keyboard
Norton Get in Step The Microjazz Collection 2,
level 4 Boosey M060106477
Rodgers arr. Williamson DoReMi What Else Can I Play? Piano Grade 2 IMP
Sherman & Sherman Chim Chim Cher-ee
from Mary Poppins The Complete Keyboard
Player, Film & TV Themes Music Sales AM65962
Strauss II You and You The Electronic Keyboard
Velaquez Besame Mucho Keyboard Klangwelt:
LatinFestival Schott ED 9909
34
Back to contents

Bb and D major
G and B minor (candidates choice two
of either harmonic or melodic or octaves
natural minor) hands
together,
Chromatic scale in similar motion unless
starting on Bb
otherwise piano voice
Pentatonic scale starting on Bb and one stated
min. legato with auto-
D (hands separately) octave
q = 80 and mf accompaniment
A harmonic minor contrary off
motion scale
Triad of Bb and D major, G and
B minor (root position, first and
second inversions) L.H. only
Chord of Bb7 and D7 (root position,
first and second inversions)
Groovy Moves keyboard functions exercise
Something Unexpected scalic exercise
Strolling pianistic exercise

35
Back to contents
Bizet arr. Clarke Habanera from Carmen

Clarke Mediterranean Breeze
Litten Tomato Splat**
Mancini arr. Ward Pink Panther
Offenbach arr. Litten Can-Can from Orpheus in the Underworld
Smith Karukera*
Tchaikovsky arr. Proudler Waltz from Swan Lake
Trad. arr. Proudler Saints Go Swingin In
Trad. arr. Smith Waltzing Matilda
Waldteufel arr. Clarke Skaters Waltz

Afansieff & Carey Hero The Complete Keyboard
Player, Greatest Hits Music Sales AM 952677
Lennon & McCartney Lady Madonna The Complete Keyboard
Lennon & McCartney When Im Sixty-Four The Complete Keyboard
Menken arr. Baker A Whole New World The Complete Keyboard
Norton Fifth Dimension The Microjazz Collection 2,
Reid & Brooker arr. Baker A Whiter Shade of Pale The Complete Keyboard
Rodgers arr. Williamson Getting to Know You What Else Can I Play?
Piano Grade 2 IMP
Washington & Harline When You Wish
Upon a Star The Complete Keyboard
36
Back to contents

Eb and A major
C and F# minor (candidates choice hands
of either harmonic or melodic or together,
natural minor) two
unless
octaves
Chromatic scale in similar motion otherwise
starting on Eb stated piano voice
Eb major contrary motion scale min. legato with auto-
Minor pentatonic scale starting on q = 90 one and mf accompaniment
R.H. only off
C and G octave
Triad of Eb and A major, C and
F# minor (root position, first and
second inversions) L.H. only
Chord of Eb7 and A7 (root position,
first, second and third inversions)
In a Trance keyboard functions exercise
Trickling Triplets scalic exercise
Lop-sided pianistic exercise

37
Back to contents
Chopin arr. Proudler Dance Prelude (based on Prelude in C minor, op. 28 no. 20)
Delibes arr. Clarke Pizzicato from Sylvia
Glover-Kind arr. Litten I Do Like to be Beside the Seaside
Joplin arr. Proudler The Entertainer
Litten Separation**
Perry arr. Proudler Beautiful
Schubert arr. Smith Marche Militaire, D. 733 no. 1
Smith High Wire
Trad. arr. Marsden Santa Lucia
Trad. arr. Ward Folk Song*

Andersson I Know Him so Well The Complete Keyboard
Player, Greatest Hits Wise AM952677
Hawkins, Johnson,
Dash & Feyne Tuxedo Junction The Complete Keyboard
Player, Jazz & Blues Music Sales AM65970
Jobim & Mendoca Desafinado Keyboard Klangwelt:
LatinFestival Schott ED 9909
Mier Fickle Fourths Jazz, Rags and Blues book 3 Alfred
Mier What a Glorious Day! Jazz, Rags and Blues book 3 Alfred
Stanley arr. Baker The Bluebell Polka The Complete Keyboard
Player, Favourite Songs
of Scotland Music Sales AM965701
38
Back to contents

Ab and E major
F and C# minor (candidates choice hands
of either harmonic or melodic or together,
natural minor) unless
Chromatic scales in similar motion two otherwise
starting on Ab and E octaves stated
Ab major contrary motion scale
piano voice
Blues scale starting on C and G min. legato with auto-
R.H. only
(straight and swung rhythm)
q = 100 and accompaniment
Triad of Ab and E major, F and C# off
minor (root position, first and
second inversions)
Chord of Ab7, E7, Fm7 and C#m7
L.H. only
(root position, first, second and
third inversions)
Chord of Ab+, E+, F, C#, F#7, C#7
(root position)
Deadly Nightshade keyboard functions exercise
Hoedown scalic exercise
Old Times pianistic exercise

39
Back to contents
Berlin arr. Ward Puttin on the Ritz*

Carmichael/Gorrell
arr. Smith Georgia on my Mind**
Fuck arr. Marsden Entry of the Gladiators
Joplin arr. Litten Paragon Rag
Khachaturian arr. Clarke Waltz from Masquerade
Litten Water Pistols at Dawn
Proudler Twilight Tango
Schubert arr. Smith Impromptu in Ab, D. 935 no. 2
Strauss Snr arr. Proudler Radetzky March
Zawinul arr. Clarke Birdland

Albert & Gaste Feelings The Complete Keyboard
Player, Greatest Hits Wise AM952677
Kern arr. Baker Smoke Gets In
Your Eyes The Complete Keyboard
Player book 8 Wise AM7898
Mier Pine Cone Rag Jazz, Rags and Blues book 3 Alfred
Norton Mechanics Rag The Microjazz Collection 3,
Tchaikovsky arr. Bolton Waltz from Serenade
for Strings Electronic Keyboard Cocktails
Classics Cramer 90550
Trad. Scottish Jig Medley* The Complete Keyboard
Player, Favourite Songs
of Scotland Wise AM965701
Waller Aint Misbehavin The Complete Keyboard
Player book 4 Wise AM68552
40
Back to contents

Db and B major
Bb and G# minor (candidates choice hands
of either harmonic or melodic or
together,
natural minor)
unless
Chromatic scales in similar motion two otherwise
starting on Db and B octaves stated
G harmonic minor contrary
motion scale piano voice
min. legato with auto-
Blues scale starting on F and A q = 110 and mf R.H. only accompaniment
(straight and swung rhythm) off
bass note in
Chords of Dbmaj7, Bmaj7, Bbm7, G#m7, the left hand
Bbmmaj7, G#mmaj7, Db6, B6, Bbm6, and three
G#m6 notes of the
Perfect cadence in C, G and F major chord in the
right hand

Cool Beans keyboard functions exercise
Rock Amok scalic exercise
Balancing Act pianistic exercise

41
Back to contents
Instead of one piece, candidates may offer an own choice piece or own arrangement (see page 7)
or an own composition (see page 13).
from 2013 Grade 6 published by Trinity:
Pachelbel arr. Proudler Pachelbels Canon

Mozart arr. Smith 1st movement from Symphony no. 40 in G minor, K. 550*
Faur arr. Clarke Pavane
Trad. arr. Smith Korobeiniki (The Pedlars)
Proudler Samba Nights
Wonder arr. Clarke Sir Duke**
42
Back to contents

D, F, Ab and B major
D, F, G# and B harmonic and
melodic minor hands together
Chromatic scales in similar
motion starting on any black note two legato
Major pentatonic scale starting octaves and mf
hands
on D and Ab (straight and swung
separately
rhythm) piano voice
Blues scale starting on D and E min. with auto-
q = 120 R.H. only accompaniment
(straight and swung rhythm)
off
Triads of D, F, Ab and B major, D, F,
L.H. only
G# and B minor in all inversions
bass note in the
Chords of D, F, G#, B, Dm7, Fm7,
left hand and
G#m7, Bm7, Dmaj7, Fmaj7, Abmaj7,
the chord in the
Bmaj7 in root position only right hand
Plagal cadence in D and F major hands together
Going Round in Circles for fingered on bass chords and maintaining a relaxed right hand
Move It! for left hand dexterity between chords and melody line
Rattletrap for use of pitch bend
Both sections are contained in the book Electronic Keyboard Pieces & Technical Work from 2013 Grade 6

Candidates to prepare i) and ii)
i) sight reading ii) aural (see page 21)
(see page 17) or improvisation (see page 24)
43
Back to contents
J S Bach arr. Proudler Prelude in C minor BWV 847

Nazareth arr. Jolliffe Cavaquinho
Tchaikovsky arr. Clarke Nutcracker Mash
Van Heusen/Cahn arr. Proudler Come Fly With Me*
Litten Enchantment
Hamilton arr. Clarke Cry Me A River**
44
Back to contents

C, Eb, F# and A major
C, Eb, F# and A harmonic and hands
melodic minor
together
Chromatic scales in similar motion
starting on any white note
two legato
C major scale in legato thirds R.H. only
octaves and mf
Major pentatonic scale starting hands
on Eb and A (straight and swung
separately
rhythm) piano voice
Blues scale starting on B and Bb min. with auto-
R.H. only
(straight and swung rhythm) q = 130 accompaniment
off
Triad of C, Eb, F# and A major, C, Eb,
L.H. only
F# and A minor in all inversions
bass note in
Chords of C7, Eb7, F#7, A7, C+, Eb+, the left hand
F#+, A+, C9, Eb9, F#9, A9 in root and the chord
position only in the right
hand
Perfect and plagal cadence in A hands
major and C minor together
Dance Sequence for right hand legato thirds
Reflections for sustain pedalling and cantabile playing
Keyboard Percussion for maintaining a steady pulse with even attack

45
Back to contents
Monti arr. Proudler Czardas

Rimsky-Korsakov arr. Clarke Flight of the Bumblebee
Bricusse/Newley arr. Proudler Feeling Good*
Jenkins arr. Clarke Palladio
MIchael arr. Litten Kissing A Fool**
Thiselton Spring Dance
46
Back to contents

Db, E, G and Bb major
C#, E, G and Bb harmonic and
melodic minor
Chromatic scales in similar hands together
motion starting on any note
Chromatic scales with hands a
minor third apart starting on Bb two legato
and Db octaves and mf
Major pentatonic scale starting hands

on E and Db (straight and swung piano voice
separately
rhythm) min. with auto-
Blues scale starting on C# and G# q = 140 accompaniment
R.H. only
(straight and swung rhythm) off
Triad of Db, E, G and Bb major, C#,
L.H. only
E, G and Bb minor in all inversions
Chords of C#7, E7, G7, Bb7, bass note in the
Dbadd9, Eadd9, Gadd9, Bbadd9, left hand and the
C#m7(b5), Em7(b5), Gm7(b5), Bbm7(b5) chord in the right
in root position only hand
Perfect, imperfect and plagal
hands together
cadence in Bb major and G minor
for right hand legato octaves and left hand fingered
Smoothly Does It
on bass chords
All Fired Up for broken chord playing and stride bass
Ornamental Cascade for dexterity with ornaments and use of the thumb

47
Back to contents
Electronic Organ Initial Subject code: EO
Instead of one piece, candidates may offer an own choice piece (see page 8) or an own composition
(see page 13).

Anon. Careless Love The Joy of Organ Music Yorktown YK 21095
Anon. Greensleeves The Joy of Organ Music Yorktown YK 21095
Blue Take My Hand Organ World book 1 Trinity
Beethoven Fr Elise Die Welt Der Orgel Klassik II Schott ED6615
Beethoven Schluchor An die Freude Die Welt Der Orgel Klassik II Schott ED6615
Brahms Guten Abend, gut Nacht Die Welt Der Orgel Klassik I Schott 5601
Brahms Lullaby The Joy of Organ Music Yorktown YK 21095
Cowles Still Waters Organ World book 1 Trinity
Cowles Whilst Waiting Organ World book 1 Trinity
Haydn Andante, Symphonie mit
dem Paukenschlag Die Welt Der Orgel Klassik II Schott ED6615
Ogden Poodles In Puddles Organ World book 1 Trinity
Schubert Wiegenlied Die Welt Der Orgel Klassik II Schott ED6615

Candidates to prepare in full both sections i) and ii)
i) Exercise (music may be used):
Trad. Down in Yon Forest (from Organ World book 1) Trinity
ii) Scales (from memory):
Manual (hands separately)
min. q = 72 one octave mf
C and G major
and
Pedal legato
min. q = 60 from C2 to G2
C major

48
Back to contents
Electronic Organ Grade 1 Subject code: EO
(see page 13).

Bailey Scoobie Du Wup Organ World book 1 Trinity
Dvorak Thema aus der Symphonie
no. 9 Aus der neuen
Welt op. 95 Die Welt Der Orgel Klassik I Schott 5601
Haydn Chorale St. Antoni Die Welt Der Orgel Klassik II Schott ED6615
Lee Invocation Organ World book 1 Trinity
Lee Stepping Stones Organ World book 1 Trinity
Liszt Liebestraum Die Welt Der Orgel Klassik II Schott ED6615
Runswick Pronto Organ World book 1 Trinity
Runswick Velvet Dreams Organ World book 1 Trinity
Soloviev-Sedoy Moscow Nights The Joy of Organ Music Yorktown YK 21095

Candidates to prepare the following:
Scales & arpeggios (from memory):
Manual (hands separately)
Scales: min.
D and F major q = 72
A and D harmonic minor mf
Arpeggios: one octave and
min.
D and F major legato
q = 60
A and D minor
Pedal min.
C major scale q = 60

49
Back to contents
(see page 13).

Auric Moulin Rouge Waltz The Complete Organ Player book 2 Wise AM19449
Bailey Moonlight Air Organ World book 1 Trinity
Blue I Remember Organ World book 1 Trinity
Cowles Follow Me! Organ World book 1 Trinity
Holdsworth On The Move! Organ World book 1 Trinity
Lehar Vilia The Joy of Organ Music Yorktown YK21095
MacDowell To A Wild Rose The Joy of Organ Music Yorktown YK 21095
Mozart Trkischer Marsch Die Welt Der Orgel Klassik II Schott ED6615
Raposo Sing The Complete Organ Player book 2 Wise AM19449
Saint-Sans My Heart at thy
Sweet Voice The Joy of Organ Music Yorktown YK 21095
Strauss The Emperor Waltz The Joy of Organ Music Yorktown YK 21095
Tchaikovsky Melodie Die Welt Der Orgel Klassik II Schott ED6615

Scales & arpeggios (from memory)
Manual
Scales:
hands separately
A, D and B major min. and together
D harmonic minor q = 72
G melodic minor two
octaves mf
Chromatic scale starting on C hands separately and
Arpeggios: legato
min. hands separately
A, D and B major
q = 60 and together
D and G minor
Pedal min. one
C major arpeggio q = 66 octave

50
Back to contents
(see page 13).

Blue Autumn Leaves Organ World book 1 Trinity
Brahms Hungarian Dance no. 4 The Joy of Organ Music Yorktown YK 21095
Cowles Tango For Bertha Organ World book 1 Trinity
Debussy Clair de lune The Joy of Organ Music Yorktown YK 21095
Handel Arioso Die Welt Der Orgel Klassik I Schott 5601
Haydn St. Anthony Chorale The Joy of Organ Music Yorktown YK 21095
Jessel Parade Of The Tin Soldiers The Joy of Organ Music Yorktown YK 21095
Ogden Beyond The Stars Organ World book 1 Trinity
Schumann Trumerei The Joy of Organ Music Yorktown YK 21095

Manual (hands together)
Scales:
Bb and Eb major
min.
B and F harmonic minor, q = 84
C melodic minor
two octaves mf
Chromatic scale in contrary motion from
unison C and
legato
Arpeggios:
min.
Bb and Eb major
q = 72
B, C and F minor
Pedal min.
one octave
Dominant 7th in the key of F q = 66

51
Back to contents
(see page 13).

Albeniz Tango The Joy of More Organ Music Yorktown YK 21210
Blue Tutti Frutti Organ World book 2 Trinity
Booth Morning Serenade Organ World book 2 Trinity
Delibes Waltz (from Naila) The Joy of More Organ Music Yorktown YK 21210
Lloyd Webber Dont Cry For Me
Argentina*
Lloyd Webber The Music Of The Night*
Runswick The Hipster Organ World book 2 Trinity
* available as digital downloads from www.sheetmusicdirect.com or www.musicroom.com

Scales:
E, Ab, Db and F# major min.
C# harmonic minor q = 96
F melodic minor
two octaves
Chromatic scale starting on any note
requested mf
Arpeggios: and
min. legato
E, Ab, Db and F# major
q = 84
C# and F minor
Pedal
Scales: min.
one octave
C major q = 72
C harmonic minor

52
Back to contents
Turn over for Grade 5 repertoire
53
Back to contents
(see page 13).

Bailey Blue Mood Organ World book 2 Trinity
Blue Swing Boogie Organ World book 2 Trinity
Brahms Ungarischer Tanz no. 5 Die Welt Der Orgel Klassik I Schott 5601
John & Rice Can You Feel
The Love Tonight*
Mancini Baby Elephant Walk*
Monti Czards The Joy of More Organ Music Yorktown YK 21210
Ogden Eurotunnel Shuttle Organ World book 2 Trinity
Runswick Chromatique Organ World book 2 Trinity
Schnberg I Dreamed A Dream*
Smetana Thema aus der
symphonischen Dichtung
Die Moldau Die Welt Der Orgel Klassik I Schott 5601
Trad. The Floral Dance The Joy of More Organ Music Yorktown YK 21210
Williams The Raiders March*
54
Back to contents
Electronic Organ Grade 5

Scales:
All major keys min.
Bb and F# harmonic minor q = 108
G# melodic minor two octaves
Chromatic scale starting on any note requested
Arpeggios:
min. mf
All major keys
q = 90 and
Bb, F# and G# minor
legato
Pedal
Scales:
C major
C melodic minor min.
one octave
q = 72
Arpeggios:
C major
C minor

55
Back to contents
(see page 13).
Composer Piece Publisher

Bizet Toreadors Song from Carmen (from Opera Gala book 1) Stainer H331
Bizet In The Depths Of The Holy Temple from The Pearl Fishers
(from Opera Gala book 2) Stainer H332
Booth Blue Lullaby (from Organ World book 2) Trinity
Brahms Ungarischer Tanz no. 5 [Repeats must be played]
(from Die Welt der Orgel-Klassik I) Schott ED 5601
Cowles Interval (Ice Cream Music) (from Organ World book 2) Trinity
Creamer
& Layton Way Down Yonder In New Orleans*
Delibes Flower Duet from Lakm (from Classical Concert) Stainer H362
Gibb, Gibb & Gibb Night Fever
(from The Complete Organ Player: Favourite Organ Pieces) Wise AM939213
Gossec Gavotte [Repeats must be played]
Haydn Rondo from Trumpet Concerto (from Classical Concert) Stainer H362
Hudson, De Lange
& Mills Moonglow*
MacDonald, Salter Just The Two Of Us
& Withers (from The Complete Organ Player: Favourite Organ Pieces) Wise AM939213
Marquina Spanish Gypsy Dance
Oliver Opus 1*
Roberts, Jacobson
& Koffman Swingin Shepherd Blues*
Robin & Shavers Undecided*
Runswick Blue Six (from Organ World book 2) Trinity
Russell & Ellington Dont Get Around Much Anymore*
Verdi Chorus of the Hebrew Slaves from Nabucco
Verdi Drinking Song from La Traviata (from Opera Gala book 1) Stainer H331
Verdi Quartet from Rigoletto (from Opera Gala book 1) Stainer H331
Verdi The Anvil Chorus from Il Travatore (from Opera Gala book 2) Stainer H332
Weber Aufforderung zum Tanz [Repeats must be played]
56
Back to contents

Manual
Key groups
The candidate should prepare one of the key groups below.
When the examiner requests a key, the candidate will perform in succession:
the major scale
the harmonic minor scale
the melodic minor scale
the major scale in 3rds (hands together a third apart, left hand starting on the tonic)
the major arpeggio
the minor arpeggio
min. tempi:
Group 1: A, C, Eb, F# hands
scales: q = 120
or Group 2: E, G, Bb, Db/C# together,
arpeggios: q = 96
or Group 3: B, D, F, Ab/G# two octaves
3rds: q = 60
mf
Also:
and
Chromatic scale in minor thirds, starting on C min.
legato
an octave below middle C in the left hand and q = 60
on Eb in the right hand three octaves
min.
Diminished 7th starting on C
q = 66
Pedal/Manual
To be performed on the pedals, with the left hand or right hand (as requested by the examiner)
playing on the manuals one octave higher:
Scales mf
min.
C major one octave and
q = 80
C harmonic and melodic minor legato

57
Back to contents
(see page 13).

Arndt Nola
(from The Complete Organ Player: Favourite Organ Pieces) Wise AM 939213
Bailey Cookin With Gas (from Organ World book 3) Trinity
Beethoven Adagio un poco mosso from Piano Concerto no. 5
(from Classical Concert) Stainer H362
Binge Elizabethan Serenade
Boccherini Minuet from the Quintet (from Classical Concert) Stainer H362
Cowles An Intermezzo Sandwich (from Organ World book 3) Trinity
Cowles Wedding Bossanova (from Organ World book 3) Trinity
Gimbel
& Thielmans Bluesette*
Gounod Juliets Waltz Song from Romeo and Juliet
Parker Harlequin (from Organ World book 3) Trinity
Puccini Your Tiny Hand Is Frozen from La Bohme
Raye, De Paul
& Johnson Ill Remember April*
Runswick Stay Awhile (from Organ World book 3) Trinity
Shearing & Weiss Lullaby Of Birdland*
Vivaldi Spring from The Four Seasons (from Classical Concert) Stainer H362
Washington
& Kaper On Green Dolphin Street*
Williams Devils Galop
Williams & Monk Round Midnight*
58
Back to contents

Manual
Key groups
the major scale
the major scale in 6ths (hands together a 6th apart, right hand starting on the tonic)
the major arpeggio in root position and first inversion
the minor arpeggio in root position and first inversion
the dominant 7th in root position
min. tempi:
Group 1: A, C, Eb, F# scales: q = 132
or Group 2: E, G, Bb, Db/C# arpeggios: q = 96 mf
6ths: q = 60 hands together,
or Group 3: B, D, F, Ab/G# and
7ths: q = 72 two octaves
legato
Also: min.
C harmonic minor scale in contrary motion q = 132
Pedal/Manual
Scales mf
min.
C major in contrary motion one octave and
q = 88
C harmonic minor in contrary motion legato

59
Back to contents
(see page 13).

J S Bach Prelude in C major BWV 553 (Prelude only)
(from Bach Organ Works book 1: Eight Short Preludes and Fugues) Novello 10018
Bizet The Flower Song from Carmen (from Opera Gala book 3) Stainer H333
Ellis Coronation Scot
Handel Zadok the Priest from Coronation Anthem no. 1
Hendricks
& Timmons Moanin*
Jobim One Note Samba (Samba De Uma Nota So)
Mercer & Raksin Laura*
Mozart Porgi, Amor from the Marriage of Figaro
Paparelli, Gillespie
& Leveen A Night In Tunisia*
Parish, Mills
& Hudson Organ Grinders Swing*
Parker Prelude In Ragtime (from Organ World book 3) Trinity
Runswick Well You Might (from Organ World book 3) Trinity
Smetana Dance of the Comedians from The Bartered Bride
Verdi Sempre Libera from La Traviata (from Opera Gala book 3) Stainer H333
60
Back to contents

Manual
Key groups
the major scale
the major scale in 3rds (hands separately)
the major arpeggio in root position, first and second inversions
the minor arpeggio in root position, first and second inversions
the dominant 7th in root position
the diminished 7th starting on any note from the chosen key group
min. tempi:
Group 1: A, C, Eb, F# scales: q = 132
or Group 2: E, G, Bb, Db/C# arpeggios: q = 96
or Group 3: B, D, F, Ab/G# 3rds: q = 60 mf
7ths: q = 80 hands together,
and
two octaves
Also: legato
Scales min.
C major in contrary motion q = 132
C harmonic minor in contrary motion
Pedal/Manual
Scales mf
min.
C major in contrary motion one octave and
q = 92
C harmonic minor in contrary motion legato

61
Back to contents
Organ Grade 1 Subject code: OGN
Three pieces are to be played, at least one from each group, to form a balanced programme.
Group A Piece Book Publisher

Alcock Trumpet Piece Organ Music for Manuals book 4 OUP
J S Bach Ich hab mein Sach Gott
heimgestellt BWV 708 Organ Works book 18 Novello NOV010013
Beethoven no. 1 of Two Equali Music for Memorial
and Thanksgiving Services Novello NOV262778
Bhm Minuet in G major A Graded Anthology vol. 2
(ed. Anne Marsden Thomas) Cramer 90583
Boyvin Duo du troisime ton Organ Music for Manuals book 3 OUP
Dandrieu Chantons je vous prie (p.7) Nols Alfred 00-K03366
Frescobaldi Magnificat Primi Toni Organ Music for Manuals book 1 OUP
Gebhardi Moderato (no. 2 of
Four Short Preludes) Organ Music for Manuals book 1 OUP
Heron Cornet Voluntary, slow movt Organ Music for Manuals book 4 OUP
Litzau Praeludium in C moll Easy Organ pieces from
19th Century vol. 3 Brenreiter BA 8420
Mozart Minuet in F A Graded Anthology vol. 2 Cramer 90583
arr. Marsden Thomas
Pachelbel Fuga Organ Music for Manuals book 3 OUP
Telemann O Lamm Gottes unschuldig Organ Music for Manuals book 3 OUP
Group B
Alain De Jules Lematre 4 Pieces for Organ Universal UE 17163
Franck Prire Music for Memorial
and Thanksgiving Services Novello NOV262778
Hepburn O when the Saints Getting started on the Organ Animus
Hesford Partita for Anna
Magdalena, 3rd movt Miniatures vol. 1 De Haske F 607
Howells Eighteen Miniatures for Organ Mayhew 3611053
Krner Moderato in B Minor Easy Organ Pieces book 1 Brenreiter BA 8416
Liszt Offertorium
(Missa pro Organo) Music for Manuals book 3 De Haske F 463
Litzau Andante (no. 3 of
3 Short Preludes) Organ Music for Manuals book 5 OUP
Peeters Miniature op. 55 A Graded Anthology vol. 2 Cramer 90583
(ed. Marsden Thomas)
Rathgeber Christmas Pastorella no. 5 10 Christmas Pastorals Peters EP 8087
Tournemire Immaculata Conceptio
B. Mariae Virginis no. 3 Petites fleurs musicales op. 66 Universal UE 17465
62
Back to contents
Organ Grade 1
Technical work (14 marks) (see pages 15)

Scales (played on manuals from memory)
G, D, A and E major
hands together mf
E, D, G and C harmonic minor min. one
and
q = 72 octave hands
Chromatic scale starting on G legato
separately

63
Back to contents

J S Bach Herr Jesu Christ meines
Lebens Licht 23 Chorale Preludes Bayley & Ferguson
J S Bach Gottes Sohn ist kommen
(Fughetta) BWV 703 Complete Organ Works vol. 3 Brenreiter BA 5173
J S Bach Prelude in G minor Bach Organ Works book 1 Novello NOV010018
Boly Messe du jour de nol
(4me Kyrie) Incognita Organo Volume 16 Harmonia HU 3315
Boyvin Basse de trompette Organ Music for Manuals book 3 OUP
Dandrieu Noel: Puer nobis nascitur Noels Alfred 00-K03366
Greene Andante (only) Early organ music for manuals book 2 Novello
from Voluntary XIII NOV010184
Haydn Minuet no. 5 in C Pieces for a Musical Clock
Hob. XIX: 132 Barenreiter EN802
Mozart Adagio in C
for glass harmonica KV 356 Brenreiter BA 8403
Pachelbel Fugue in C A Graded Anthology vol. 2 Cramer 90583
(ed. Marsden Thomas)
Rathgeber Christmas Pastorella no. 1 Peters EP 8087
Travers Trumpet Voluntary Organ Music for Manuals book 3 OUP
Group B
Alain Monodie Loeuvre dorgue vol. 3 Leduc AL20184
Bollmann Basso Ostinato Easy Graded Organ Music book 1 OUP
Bollmann Verset Music for Manuals book 2 De Haske F 367
Coleman Prelude An Easy Organ Album OUP
Eben Kleine Choralpartita ber
O Jesu, all mein Leben
bist Du, 2nd movt Universal UE 17162
Franck la venue de nol Music for Manuals book 2 De Haske F 367
Hesford Gradual Missa Ungarica pro Organo Cramer 90124
Langlais Printemps [theme only] Mosaques vol. 3 Combre CO 4639
Peeters Choral and 1st Variation:
Herr Jesus hat
ein Gartchen 10 Organ Chorales Schott ED 2553
Reger Es ist gewilich an der Zeit 10 Christmas Pastorals
op. 135a no. 8 Music for Manuals book 2 De Haske F 367
Walcha Chorale Prelude:
Zu Bethlehem Geboren A Graded Anthology for Organ book 2 Cramer 90583
64
Back to contents
Organ Grade 2

Scales & arpeggios (played on manuals from memory)
Scales:
B and F major, F harmonic minor
min. two octaves hands
C and E major in contrary motion mf
Chromatic scale starting on D q = 72 together
and
Chromatic scale starting on D in contrary motion one octave legato
Arpeggios: min. hands
two octaves
C, F and G major, A, D and E minor q = 60 separately

65
Back to contents

Anon. No. 1 of Two Early Sixteenth Early Organ Series 1:
Century Pieces England 15101590 Faber 0 571 50771 9
J S Bach Da Jesus an dem Kreuze
stund BWV 621 Complete Organ Works vol. 1 Brenreiter BA 5171
Byrd Veni creator spiritus 1 8 Organ Pieces Hinrichsen H1543A
Haydn Allegro in C no. 23 Pieces for a Musical Clock
Hob. XIX: 132 Barenreiter EN802
Marpurg Pastorella: Der Herr ist The Progressive Organist book 1 Novello NOV262483
mein getreuer Hirt (ed. Trevor)
Stanley Voluntary V in D minor,
2nd movt 10 Voluntaries op. 6 (ed. Phillips) Peters EP7723
Van Noordt Psalm 38 Organ Music for Manuals book 3 OUP
Walther Herr Jesu Christ, dich zu uns
Wend [with repeats] Organ Music for Manuals book 1 OUP
Group B
Alain Ballade en mode phrygien Loeuvre dorgue vol. 3 Leduc AL20184
Bollmann Plainte (no. 1 of Four Pieces) Organ Music for Manuals book 1 OUP
Bollmann Postlude Organ Music for Manuals book 3 OUP
Frank Vieux Nol A Graded Anthology vol. 3
(ed. Marsden Thomas) Cramer 90584
Guilmant Communion Organ Music for Manuals book 5 OUP
Langlais Pastoral Song A Graded Anthology vol. 3
Moore Prelude A Graded Anthology vol. 3
Pinkham Canon at the octave Music for a Quiet Sunday Presser 493-00086
Ridout Father Canticle of the Rose Mayhew 1405553
Tournemire Offertoire Miniatures vol. 2 De Haske F 642
Walcha Herzliebster Jesu A Graded Anthology vol. 3
66
Back to contents
Organ Grade 3

Manual
Scales:
Bb, Eb, Ab and Db major two octaves
C# and G# harmonic minor min.
Chromatic scale starting on Ab q = 84 mf
hands together
Eb major in contrary motion
one octave and legato
Chromatic scale starting on Ab in contrary motion
Arpeggios:
min.
D, A and E major two octaves
q = 72
G, C and F minor
Pedal
Scales: min.
one octave mf
F and G major in broken 3rds q = 72
A and G melodic minor in broken 3rds

67
Back to contents

Albrechsberger Prelude A Graded Anthology vol. 4
J S Bach Der Tag, der ist so
freudenreich BWV 605 Complete Organ Works vol. 1 Brenreiter BA 5171
J S Bach Christe, du Lamm Gottes
BWV 619 Complete Organ Works vol. 1 Brenreiter BA 5171
J S Bach Prelude and Fugue in G Bach Organ Works book 1 Novello NOV010018
Bhm Prelude in A minor A Graded Anthology vol. 4
Buxtehude Nun Komm der
Heiden Heiland The Progressive Organist book 2 Novello NOV262533
Froberger Toccata in D minor no. 2 Various Organ Works Kalmus K03455
Kotter Preludium in Fa Early Organ Series 13:
Germany 15121577 Faber 0 571 50783 2
Pachelbel Da Jesus an dem Kreuze
stund BWV 621 Pques Schola Cantorum OL 1
Group B
Alain No. 1 of Deux danses
a Agni Yavishta Loeuvre dorgue vol. 2 Leduc AL20102
Bollmann Entre Miniatures vol. 2 De Haske F 642
Demessieux Chorale-paraphrase Twelve Choral Preludes SummyBirchard
on Tu es petrus on Gregorian Chant Themes
Dupr Audi, benigne Conditor Le tombeau de Titelouze op. 38 Leduc AL27836
Elgar Andantino op. 14 no. 3 Miniatures vol. 2 De Haske F 642
Elgar Vesper voluntary no. 5 Vesper Voluntaries op. 14 Faber 0571508626
Ireland The holy boy Boosey BH 83212
Karg-Elert Freu dich sehr, Chorale-Improvisations
o meine Seele no.5 op. 65 book 1 Breitkopf EB 8261
Macmillan White note paraphrase Boosey BH 11392
Ridout Jesus meets his
Blessed Mother 14 Stations of the Cross Mayhew 1400014
Ridout Jesus Speaks to the
Women of Jerusalem 14 Stations of the Cross Mayhew 1400014
Vierne Arabesque 24 Pieces en Style Libre vol. 2 Durand DF 00897300
68
Back to contents
Organ Grade 4

Manual
Scales:
F# major two octaves
Bb and Eb harmonic minor min.
Chromatic scales starting on A, C, D, F and G q = 96 mf
hands together
Chromatic scale starting on A in contrary motion
one octave and legato
E harmonic minor in contrary motion
Arpeggios:
min.
B and Bb major two octaves
q = 84
B and Bb minor
Pedal
Scales: min.
one octave mf
A, E and Bb major in broken 3rds q = 84
B, E and F melodic minor in broken 3rds

69
Back to contents

J S Bach Herr Christ, der einge
Gottessohn BWV 601 Complete Organ Works vol. 1 Brenreiter BA 5171
J S Bach Prelude and Fugue
in E minor BWV 555 Bach Organ Works book 1 Novello NOV010018
Buxtehude Mensch, willt du leben Early Organ Series 12: Faber 0 571 50775 7
seliglich BuxWV 206 Germany 16501710
Cernuhorsk Toccata C dur Vox Humana Czech Republic Brenreiter BA 8236
Karg-Elert Chorale prelude: Schmcke 66 Chorale Improvisations
dich, O liebe Seele op. 65 no. 5 Breitkopf EB 8265
Kittel Prludium in A flat major Organ Music around J S Bach vol. 2 Breitkopf EB 8685
Merkel Pastorale no. 4 6 Preludes op. 23 De Haske F 365
Merkel Evening hymn Self Taught 1 Animus
Purcell Voluntary in G Organ Works Novello NOV590294
Schumann Canonic study for
pedal piano op. 56 no.1 in C Organ Works Schott ED9906
Stanley Voluntary II in D minor 10 Voluntaries op. 5 (ed. Phillips) Peters EP7722
Tomkins Verse Early Organ Series 2:
England 15901650 Faber 0 571 50770 6
Ziploi Alloffertorio A Graded Anthology vol. 4
Group B
Demessieux Choraleparaphrase on Twelve Choral Preludes
Hosanna filio David on Gregorian Chant Themes SummyBirchard
Hakim Pastorale Mariales UMP M2244 0215 5
Lindberg Gammal Fabdsalm frn Norsk NM2352
Dalrna
Mathias Chorale A Mathias Organ Album OUP
Mendelssohn Sonata in A, op. 65 no. 3,
Andante tranquillo Complete Organ Works II Brenreiter BA 8197
Mendelssohn Sonata in D minor op. 65
no. 6, Finale (Andante) Complete Organ Works II Brenreiter BA 8197
Nielsen Prelude in F sharp minor Miniatures vol. 2 De Haske F 642
Peeters Koraal Suite modale op. 43 Lemoine 23673
Rheinberger Con moto no. 1 Twelve Monologues
for Organ op. 162 Novello NOV010044
Ridout Jesus Receives the Cross 14 Stations of the Cross Mayhew 1400014
Ridout Jesus is Laid in
the Sepulchre 14 Stations of the Cross Mayhew 1400014
SaintSans LElephant, from The Heavy-footed Organist Animus
arr. Webb Carnival of the Animals
Stanford No. 5 of 6 short
Preludes and Postludes Preludes and Postludes Mayhew 1400361
70
Back to contents
Organ Grade 5
Thalben-Ball Elegy Paxton NOV357436

Vierne Berceuse op. 31 no. 19 24 Pieces en Style Libre vol. 2 Durand 0897300
Whitlock Lantana Plymouth Suite OUP

Manual
Scales:
B, C, F, Eb and F# major mf
F# harmonic minor, min.
= 108 hands together
A, C, D, E and G melodic minor and legato
two octaves
Chromatic scales in similar and contrary motion or staccato as
starting on any note requested by the examiner requested by the
Arpeggios: examiner
min.
Eb, Ab and Db major
= 90
C#, F# and G# minor
Pedal
Scales: min.
one octave
A and G major in running triplets = 60
A and B melodic minor in running triplets mf
and legato
Broken chords:
min.
F and G major to 12th
= 84
A and E minor

71
Back to contents
Group A Piece Publisher

J S Bach Concerto in G BWV 592 (from Bach Organ works vol. 8)
last movt (Presto) Brenreiter BA5178
J S Bach Gelobet seist du, Jesu Christ BWV 604 Brenreiter BA 5171
J S Bach Heut triumphieret Gottes Sohn BWV 630
(from Complete Organ Works vol. 1) Brenreiter BA 5171
J S Bach Trio Sonata in D minor, BWV 527, 2nd movt
Bruckner Fugue from Prelude and Fugue in C minor
(from Bruckner Album of Various Pieces for Organ) Kalmus KO 2036
Franck Prelude (from Prelude, Fugue and Variation op. 18) UMP M2244 0313 1
Homilius Mache dich mein Geist bereit Incognita organo, no. 27 Harmonia
Mendelssohn Fugue from Sonata no. 6 (from Complete Organ Works vol. 2) Brenreiter BA 8197
Tunder Chorale fantasia Komm, heiliger Geist
(from Complete Organ Works) Breitkopf EB6718
Group B
Alain Lamento (from Loeuvre dorgue vol. 3) Leduc AL20814
Alain Le Jardin Suspendu (from 3 Pieces) Leduc AL19744
Archer Toccatina (from A little Suite for Organ) IAO/Allegro
Bourgeois Serenade op. 22 Smith R 70055
Brahms Herzlich thut mich verlangen op. 122 no. 10 Novello NOV590116
Burrell Fragments I and II (from Unbeaten Tracks) Faber 0 571 51977 6
Dubois In Paradisum (from Twelve pieces) Alfred
Gardner Pavin (from Five Dances for Organ) Gardner
Guilmant Paraphrase on Handels Judas Maccabeus
A Graded Anthology vol. 5 (ed. Marsden Thomas) Cramer 90586
Hakim Incantation (from Mariales) UMP M2244 0215 5
Hindemith Second movement (from Sonata no. 2) Schott ED 2558
Ireland Sursum Corda (from Organ Music of John Ireland) Novello NOV010183
Langlais Pasticcio (from Organ book) Elkan-Vogel 46300006
LefbureWly Andante Choseur de voix humaines
Favourite organ music book 2 (ed. Sanger) OUP
Parry Choral Prelude: Martyrdom (from Seven Choral Preludes set 2) Novello NOV590045
Ridout Veronica Wipes the Face of Jesus (from 14 Stations of the Cross) Mayhew 1400014
Ridout Jesus Falls the Third Time (from 14 Stations of the Cross) Mayhew 1400014
Vierne Carillon op. 31 no. 21 (from 24 Pieces en Style Libre vol. 2) Durand 0897300
Vierne Lied op. 31 no. 17 (from 24 Pieces en Style Libre vol. 2) Durand 0897300
Whitlock Folk Tune (from 5 Short Pieces) OUP
Widor Fourth movement (from Symphonie V in F, op. 42) Hamelle AL26865
Yon Humoresque (from Lorgano primitivo) Dover DP19613
72
Back to contents
Organ Grade 6

Candidates to prepare in full section i) and section ii):
i) Scales & arpeggios (from memory)
Manual
Scales:
All major keys min.
q = 120 mf
B and F melodic minor
hands together
Chromatic scale in major 6ths,
starting on Eb left hand and C right hand and legato
two octaves
or staccato as
Arpeggios:
requested by the
F# major min. tempi: examiner
Eb minor arpeggios: q = 96
Dominant 7th in the key of C 7ths: q = 66
Diminished 7th starting on B
Pedal
Scales: min. mf
one octave
C and Bb major in running triplets q = 72 and legato
C and G melodic minor in running triplets
and ii) Pedal study (music may be used):
J S Bach Bars 1-10 from Prelude in C, BWV 531

73
Back to contents

J S Bach Prelude (from Prelude and Fugue in A major BWV 536)
J S Bach Fugue in C major BWV 545
J S Bach In dir ist Freude, BWV 615 (from Complete Organ Works vol. 1) Brenreiter BA 5171
J S Bach Wir glauben all an einem Gott, BWV 680
Buxtehude Praeludium [and Fugue] BuxWV 138
Buxtehude Prelude and Fugue in A minor
(from Organ Works vol. 2, Preludes, Fugues and Toccatas) Hansen WH26990
Couperin 8e couplet of Gloria, Dialogue en trio du Cornet et de la Tierce
(from Messe pour les Paroisses) Alfred K03314
Hindemith Sonata no. 1, 2nd movt Schott ED 2557
Howells Saraband in Modo Elegiaco (from Six Pieces for Organ) Novello NOV590354
Langlais In Paradisum (from Triptyque Grgorien) Universal UE 16968
Lbeck Prelude and Fugue in C minor (from Orgelwerke) Peters EP 4437
Smart Postlude in C Novello NOV954514
Stanford Fantasia (from Fantasia and Toccata in D minor op. 57) Cathedral 227
Group B
Bridge Adagio in E (from Three Pieces for Organ) Novello NOV010986
Durufl Fugue op. 12 sur le Carillon de Soissons UMP M560220185
Eben Lied des Leiermannes (from Faust) UMP M224402063
Farnham Toccata on O filii et filiae Presser
Franck Fugue and Variation (from Prelude, Fugue and Variation op. 18) Durand
Hindemith Sonata no. 2, 1st movt Schott ED2558
Ireland Menuetto-Impromptu (from Organ Music of John Ireland) Novello NOV010183
KargElert Now thank we all our God op. 65 no. 59 Breitkopf EB 6238
Mathias Processional (from A Mathias Organ Album) OUP
Maxwell Davies No. 1 (Psalm 124) , and either no. 2 or no. 3
(from 3 Organ Voluntaries) Chester CH 55170
Messiaen Les Enfants de Dieu (from La Nativit du Seigneur vol. 2) Leduc AL19269
Parry Chorale Prelude on Dundee
(from 7 Chorale Preludes for Organ Set 1) Novello NOV 010214
Parry Choral Prelude on Eventide (from Seven Chorale Preludes set 2) Novello NOV590045
Peeters Scherzo (from Suite modale op. 43) Lemoine 23673
Ratcliffe Caprice (from Colours of the Organ) Novello NOV010092 archive
Roget Deploracin por la Semana Santa (from Pques) Schola Cantorum OL 1
Vierne Pastorale no. 20 (from 24 Pieces en Style Libre vol. 2) Durand 0897300
Wills Elevation (from Colours of the Organ) Novello
NOV010092 archive
74
Back to contents
Organ Grade 7

Manual
Scales:
All harmonic minor keys
C#, F# and G# melodic minor
C and F major in 6ths,
right hand starting on the tonic min. mf
A and D harmonic minor in 6ths, q = 132 hands together
right hand starting on the tonic and legato
two octaves
or staccato as
Chromatic scale in major 6ths,
requested by the
starting on Eb left hand and C right hand
examiner
Chromatic scale in minor 3rds,
starting on G left hand and Bb right hand
Arpeggios:
min.
Dominant 7ths in the keys of G, B and E
q = 72
Diminished 7ths starting on A, C, D and F
J S Bach Bars 19 from Prelude and Fugue in C minor, BWV 549

75
Back to contents

Alain Variations sur un thme de Clment Jannequin
(from Loeuvre dorgue vol. 2) Leduc AL20102
J S Bach 1st movt (from Trio Sonata no. 6 in G BWV 530)
J S Bach Ach bleib bei uns, Herr Jesu Christ, BWV 649
J S Bach Herr Gott, nun schleu den Himmel auf, BWV 617
J S Bach Nun danket alle Gott, BWV 657
J S Bach Prelude and Fugue in C BWV 545
(from Organ Works vol. 2) Peters EP241
J S Bach Prelude or Fugue in G BWV 541
Beethoven Adagio in F for mechanical organ (ed. Altman) Hinrichsen
Buxtehude Toccata in F Bux157 [complete]
Hurford Dialogue no. 2 (from Two Dialogues) Novello NOV 570032 archive
Kellner Jesu meine Freude (from Organ Music around J S Bach vol. 2) Breitkopf EB 8685
Mendelssohn Sonata no. 5 in D, op. 65 no. 5, 3rd movt
Peeters Herr Jesu hat ein Gartchen no. 10 (from 10 Organ Chorales) Schott ED 2553
Group B
Anderson
arr. Trotter Sleigh Ride Banks 14038
Bollmann Toccata (from Suite gothique) UMP M2244 0097 7
Dubois Fiat lux (from 12 pieces for Organ) Alfred K03456
Dupr Placare Christe servulis op. 38 no. 16 (from Le Tombeau de Titelouze) Leduc AL27836
Gardonyi Mozart changes Mseler MOS 19498
Gigout Toccata in B minor Leduc
Howells Psalm Prelude no. 3 (from Three Psalm Preludes Set 1) Novello NOV590353
Ireland Meditation on John Kebles Rogationtide hymn
(from Organ Music of John Ireland) Novello NOV010183
Jongen Scherzetto op. 108 no. 1 (from A Jongen Organ Album) OUP
KargElert Valse mignonne (from 3 Pieces op. 142) Breitkopf EB 8584
KargElert Legend op. 141 no. 1 (from Triptyque) Novello NOV 950170 archive
Krzanowski Relief III PWM 9929
Mathias Toccata giocosa op. 36 no. 2 (from A Mathias Organ Album) OUP
Messiaen Le Banquet Celeste Leduc AL19269
Messiaen Majest du Christ demandant sa gloire son Pre
(from LAscension) Leduc AL18826
Mulet Tu es Petra (from Esquisses Byzantines) Leduc AL16202
76
Back to contents
Organ Grade 8
Mushel Toccata OUP 196 archive

Popplewell Triumphal March Banks 13983
Whitlock Divertimento (from The Complete Shorter Organ Music) OUP

Manual
Scales:
Bb and Eb melodic minor
D, G and Bb major in 3rds, left hand starting on the tonic
min. mf
B, E and G melodic minor in 3rds,
q = 132 hands together
left hand starting on the tonic
two and legato
Chromatic scale in minor 3rds, starting on any notes octaves or staccato as
requested by the examiner requested by the
Chromatic scale in major 6ths, starting on any notes examiner
requested by the examiner
Arpeggios:
min.
Dominant 7ths in the keys of F, Ab, Eb and F#
q = 80
Diminished 7ths starting on Ab, Bb and C#
J S Bach Bars 1332 from Toccata, Adagio and Fugue in C, BWV 564

77
Back to contents
Information and regulations
The following section contains key information and regulations that apply to all of Trinitys graded
music exams. Please note that Trinitys separate Information & Regulations booklet gives more detailed
guidance and can be downloaded from our website.
Entry requirements Entry process

T
here are no age requirements or limitations E
xam entries may be submitted by a
for any Trinity grade exams. teacher, parent or guardian, or by candidates
C
andidates may enter any combination of themselves if they are aged 18 or over.
grades and do not need to pass any particular Correspondence will be conducted with this
level in order to proceed to a higher level. person only.
In addition, no theory qualifications or other A
ll entries must be made on an official Trinity
prerequisites are required to enter grades entry form and sent to the local Trinity
at any level. representative along with the correct entry fee
C
andidates may enter for more than one grade in advance of the closing date for application to
exam in the same or different subjects at the the exam. Closing dates and contact details for
same session, but no more than one entry will local representatives can be found on
be accepted per candidate per session in the our website.
same grade and subject. C
heques should be made payable to Trinity
College London. A receipt will only be provided
Candidates with special needs
if the appropriate section of the entry form
T
rinity is committed to creating an inclusive is completed and a stamped addressed
environment where candidates with special envelope supplied.
needs are able to demonstrate their skills
W
here possible, the Trinity representative will
and feel welcomed. We aim to make our
seek to meet a request for a specific exam
exams accessible to all. We treat each learner
date if it is clearly specified on the entry form,
individually when considering how we can
but this cannot be guaranteed. Requests for
achieve this aim, recognising that requirements
morning or afternoon appointments will be
vary. Candidates can be assured that we do
observed where possible, but requests for
not compromise on the standard of marking or
precise times cannot be accepted. Please note
allow the quality of exams to be affected in any
that exam dates may occasionally need to be
way. If a candidate has any special needs, we
changed from those published.
will try to help. Of course we will not make any
change that affects the assessment standards. B
y entering for a Trinity exam, candidates
We will treat each request individually, so agree to abide by Trinitys regulations, syllabus
please visit our website or contact us to discuss requirements and the professional judgements
your requirements. of its examiners.
E
ntries at one centre may be transferred
Exam centres to another centre for a fee, but cannot be
E
xams can be taken at one of Trinitys Public deferred to a later exam session. In the case
exam centres which are available throughout of a transfer, a new entry form must be
the world. Details of these are available on our completed and the appropriate fee must be
website. Candidates should contact the local paid (please contact Trinitys London office for
Trinity representative for more information. further details). Entries may not be transferred
In the UK and Ireland, schools and private from one candidate to another.
teachers with sufficient candidates may apply T
rinity is required to collect candidates dates
to enter under the Examiner Visit Scheme. of birth in order to produce anonymised
Further details are available on our website. statistical information for various government
and educational bodies. If this information is
not provided on the entry form then the entry
process may be delayed.
78
Back to contents
Inaccurate and late entries T

he appointment form must be handed to the
If an entry form is incomplete, it may be refused. examiner on entering the exam room. Before
the exam, candidates should ensure that they
C
andidates names as shown on the entry
have filled in the names of the pieces that they
form will be used when producing certificates
will be playing and their choice of technical
for successful candidates. Please ensure that
work and supporting tests.
all details on the entry form are complete
and accurate. On the day
If you require a correction to be made on an C
andidates are advised to arrive at least 15
entry form or to details held about you on minutes before the start of the exam to allow
Trinitys database, please contact your time for warming up and any other necessary
Trinity representative. preparation. Candidates who arrive late may
P
lease note that entries will not be accepted find that their exam cannot be conducted,
if received less than 14 days before the exam although every effort will be made to
date. Late entries received more than 14 days accommodate them.
before the exam date may be accepted at P
ublic centres administered by Trinity will
the discretion of the Trinity representative, endeavour to provide waiting and warm-up
depending on availability. Please contact your facilities wherever possible, but Trinity cannot
Trinity representative before submitting a guarantee this.
late entry.
C
andidates are responsible for their own
E
ntries which are received following the property at all times. Trinity will not accept any
application closing date will be subject to the liability in the event of candidates instruments
following surcharges: or other property being lost, stolen or damaged,
f or late entries received up to 21 days either while in transit to or from the exam
before the exam date: centre or at any time before, during or after
+ 50% of the entry fee the exam.
for late entries received between 20 and 14
In the exam
days before the exam date:
+ 100% of the entry fee. E
ach exam room is equipped with a tuned
piano, an adjustable stool and a music stand.
Trinity makes no guarantee that acceptance of
Where exams are taking place under the
a late entry will result in the exam taking place.
Examiner Visit Scheme, a digital piano may be
If a late entry is accepted but an exam slot is
used, as long as the instrument is sufficient to
not available, Trinity may at its discretion refund
allow candidates to demonstrate the full extent
the entry fee, although the surcharge fee will be
of their musicianship. A digital piano may only
retained in all cases to cover administration costs.
be used where candidates have been notified in
Exam appointments advance and have given their consent.
O
nce the entry has been processed, your local C
andidates may play a few notes before
Trinity representative will send an appointment the exam begins to help them adjust to the
form giving details of the date, time and place acoustics of the room.
of the exam, along with the candidates ID The
examiner may choose to curtail
number and their instrument and grade. This performances once they have formed a
will normally be sent 21 days before the date of judgement.
the exam. G
enerally, only one examiner will be present
If there are any errors in the information in the exam room. However, for training and
specified on the appointment form, please quality assurance purposes, another examiner
notify your Trinity representative immediately. may also be present.
An incorrect exam subject or grade cannot
be altered on the day of the exam, but any
misspelling of the candidates name should
be pointed out to the examiner.
79
Back to contents
Interpreters are allowed for candidates certificate and appointment form to Trinity,
whose first language is not English and where who will issue a re-entry permit for an exam at
candidates do not have sufficient English the same level in the same subject.
language fluency to meet the communication A
re-entry permit can be used for an exam
requirements of the exam. Candidates are within 21 days to 12 months of the original exam
responsible for all arrangements with and date upon payment of 50% of the entry fee
costs of interpreters, whose involvement must current at the new date of entering. If a permit
be agreed with the centre in advance of the is used towards entry for an exam at a higher
exam. Interpreters must not assist candidates level, any difference in fee is also payable.
beyond interpreting. If the examiner suspects
If candidates wish to postpone or cancel an
that interpreters are assisting candidates
exam, the original fee will not be refunded.
inappropriately, they will refer the matter
There are special arrangements in case of
to Trinitys Central office.
genuine compassionate circumstances. Trinity
Recordings of exams will not offer re-entry permits for non-medical
reasons, though sympathy will be shown to
T
rinity audio records all grade exams for quality
genuine cases in which appropriate evidence
assurance purposes.
is provided.
T
rinity exams are also sometimes filmed for
training and quality assurance purposes. In Results, reports and certificates
such cases, Trinity will always seek permission A
ll candidates receive a written report.
from the candidate or parent/guardian first. Examiners issue reports only to the Trinity
Candidates may refuse to be filmed at any point representative, and are not allowed to give
and may request for footage to be deleted details of reports or results in any other way.
without giving a reason. In turn, Trinity representatives will despatch
A
ll audio and visual recording devices will be those reports to the person who signed the
discreet and should not cause any distraction application form.
to candidates. R
eport forms are normally issued within a
E
xaminers will not refer to recordings when week of completion of a centres exam session,
making their assessments. Trinitys recordings although in circumstances where a particularly
of exams (film and audio) will not be released large number of candidates attended the same
to candidates under any circumstances after exam session, Trinity representatives may issue
the exam. report forms on a fortnightly basis.
C
andidates and accompanists are not In the case of successful candidates, results
authorised to make any recordings of an are provisional until confirmed by the issue of
assessment. If made, such recordings will be a certificate six to eight weeks after the end of
confiscated on the spot and may invalidate the exam session.
the exam. C
ertificates show the date, centre, subject, and
level achieved by a successful candidate, as
Exceptional circumstances
well as the name of their teacher and school
If candidates are ill and cannot take an exam (if requested). The personal details shown on
as planned, the Trinity representative must certificates will be taken from those recorded
be informed as soon as possible. The person on the entry form.
who signed the entry form may apply to the
T
rinity cannot accept responsibility for the non-
Trinity representative for a re-entry permit by
arrival of any exam report or certificate after
providing a medical certificate current for the
it has been posted. Please refer to Trinitys
date of the exam and the appointment form
website or contact your local representative for
originally issued.
information about replacement certificates and
T
he re-entry application must be made no certifying statements.
later than 30 days after the exam date. The
Trinity representative will forward the medical
80
Back to contents
Syllabus infringements Malpractice

A
ll syllabus infringements (eg choosing an T
rinity requires its registered exam centres
incorrect piece or technical work item) will be to report any suspected malpractice by
referred directly to Trinitys London office by candidates, teachers or examiners. In situations
the examiner. Exam reports may be withheld where a centre is found to be inadequate or
until the outcome of any referral has been to be guilty of malpractice, either in terms of
considered by Trinity. Depending on the provision of facilities or in administration, the
severity of the infringement, marks may be exam centre may be required to suspend all of
deducted or, in extreme cases, the exam may its activities relating to Trinity exams until the
be invalidated. cause of the problem is identified and rectified,
if appropriate. In extreme circumstances, the
Results review and appeals procedure centre may no longer be permitted to act as an
A
nyone who wishes to question the outcome exam centre registered with Trinity.
of their exam result should refer to In the very rare cases or circumstances where
www.trinitycollege.com/resultsenquiry a centre or individual may be suspected
for full details of our results review and of malpractice, Trinity will aim to minimise
appeals process. any inconvenience caused to any affected
candidate, and would like to thank candidates,
Policies teachers and centre staff for their kind
co-operation in reporting any suspected
Equal opportunities
incident of cheating, thereby assisting Trinity
T
rinity is committed to providing equality of in upholding the quality and integrity of its
opportunity and treatment for all, and will not exam process.
unlawfully or unfairly discriminate directly or
indirectly on the basis of any characteristic.
Child protection
T
rinity College London exams are delivered in
full compliance with the requirements of the
UKs Childrens Act 1989 and other relevant
legislation. Trinity has also implemented a
policy relating to child protection, full details of
which can be found on our website.
Data protection
T
rinity College London is registered as a Data
Controller with the Information Commissioners
Office in the United Kingdom under the Data
Protection Act 1998. Please see our website for
the most up-to-date information about its data
protection procedures and policies. You can
write to the Data Protection Officer at Trinitys
London office for further information.
Customer service
T
rinity strives to update and improve its
syllabuses where necessary. Amendments
and additions are regularly published on our
website, which is also a source of general
information about Trinity and its products and
services. A Customer Service Statement
is available on our website.
81
Back to contents
Music publishers
Non-UK publishers may have different local agents in other parts of the world who may be able to supply
music more easily or quickly. Details of these may be obtained by contacting the publishers directly.
Trinity cannot guarantee that music will always be in stock with local suppliers. Candidates and teachers
should always check with the publisher before it is assumed that any item has gone out of print.
Allegro (Allegro Music): T +44 (0)1885 490375; Faber (Faber Music Ltd): T +44 (0)1279 828 982;
www.allegro.co.uk www.fabermusic.com
Alfred (Alfred Publishing): www.alfred.com Gardner (Gardner): c/o ScoreStore Music Ltd;
in UK: Alfred UK; T +44 (0)1279 828960; www.johnlintongardner.co.uk
www.alfreduk.com Hal Leonard (Hal Leonard Publishing Co.):
in Australia: Alfred Australia; T 61 2 9524 0033 T +1 414 7743630; in UK: c/o Music Sales Ltd
Animus (Animus Music Publishing): Hamelle (Hamelle (Paris)): c/o Editions Alphonse
T +44 (0)1229 467432; www.animusi.co.uk Leduc; in UK: c/o Music Sales Ltd
Banks (Banks Music Publications): Hansen (Wilhelm Hansen Edition):
T +44 (0)1653 628 545; T +45 3311 7888 www.ewh.dk;
www.banksmusicpublications.co.uk in UK: c/o Music Sales Ltd
Brenreiter (Brenreiter Ltd): T +44 (0)1279 Harmonia (Harmonia): c/o De Haske Hal
828930; www.brenreiter.com Leonard Ltd
Bayley & Ferguson (Bayley & Ferguson): Hinrichsen (Hinrichsen Edition): c/o Peters
T +44 (0)141 221 9444; Edition Ltd
www.glasgowmusiccentre.co.uk IAO (Incorporated Association of Organists):
Bornemann (ditions Bornemann (Paris)): in UK: c/o Allegro Music
c/o United Music Publishers Ltd; in USA: c/o Kalmus (Edwin F Kalmus & Co. Inc.):
Robert King Music Sales Inc. T +1 800 434 6340; in UK: c/o Music Sales Ltd
Boosey (Boosey & Hawkes Music Publishers Ltd): Leduc (Editions Alphonse Leduc):
www.boosey.com T +33 (0)1 42 96 89 11;
Retail: freephone (UK only) T +44 (0)800 731 in UK: c/o Music Sales Ltd
4778; US/international T +44 (0)870 421 5453
Lemoine (Editions Henry Lemoine):
Trade: T +44 (0)1233 712233
www.editions-lemoine.fr
Breitkopf (Breitkopf & Hrtel): T +49 611 45008 58; in UK: c/o Faber Music Ltd;
www.breitkopf.com; in UK: T +44 (0)1263 768 732 in USA: c/o Theodore Presser Company
Chester (Chester Music Ltd): c/o Music Sales Kevin Mayhew (Kevin Mayhew Publishers):
Combre (ditions Combre): T +33 (0)1 48 24 89 T +44 (0)1449 737 978; www.kevinmayhew.com
24; www.editions-combre.com Mseler (K H Mseler Verlag):
Cramer (Cramer Music Ltd): T +49-5331-9597-0; www.moeseler-verlag.de
T +44 (0)20 7240 1612; www.cramermusic.co.uk Music Sales (Music Sales Ltd):
De Haske (De Haske Hal Leonard Ltd): T +44 (0)1284 702 600; www.musicroom.com
T +44 (0)20 7395 0380; www.dehaske.com Norsk (Norsk Musikforlag): T (+47) 23 00 20
Dover (Dover Publications): c/o Music Sales 10/23 00 20 21 orders; www.norskmusikkforlag.no
Durand (Durand et Cie (Paris)): Novello (Novello & Co. Ltd): c/o Music Sales Ltd
T +33 (0)1 53 24 80 01; OUP (Oxford University Press):
www.durand-salabert-eschig.com; T +44 (0)1536 454 590; www.oup.co.uk
in UK c/o De Haske Hal Leonard Ltd in Australia: c/o Alfred Australia
Elkan-Vogel (Elkan-Vogel): www.presser.com in USA: Oxford University Press Inc, 198
Maddison Avenue, New York, NY 10016
82
Back to contents
Music publishers
Paxton (Paxton Music): c/o Music Sales Ltd Spartan (Spartan Press Music Publishers Ltd):
Peters (Peters Edition Ltd): T +44 (0)1528 544 770; www.spartanpress.co.uk
T +44 (0)20 7553 4000; www.edition-peters. Stainer (Stainer & Bell Ltd):
com; in UK: c/o Faber Music Ltd T +44 (0)20 8343 3303; www.stainer.co.uk
Presser (Theodore Presser Company): SummyBirchard (SummyBirchard Inc):
T +1 610 525 3636; www.presser.com c/o Alfred Publishing
PWM (PWM Edition): T +48 (012) 422 70 44; Trinity (Trinity College London):
www.pwm.com.pl www.trinitycollege.com; (trade only) c/o MDS
in UK: c/o Universal Edition (London) Ltd www.mds-partner.com
Smith (R Smith & Company): Trinity Faber (Trinity Faber): c/o Faber Music Ltd
T +44 (0)1933 445 440; www.rsmith.co.uk UMP (United Music Publishers Ltd):
Schola Cantorum (Schola Cantorum): T +44 (0)1284 850753; www.ump.co.uk
T +41 (0)32 861 37 19; www.schola-editions.com Universal (Universal Edition (London) Ltd):
Schott (Schott Music Ltd): T +44 (0)20 7437 T +44 (0)20 7437 1246/(0)20 7534 0710
1246/(0)20 7534 0710; www.schott-music.com www.universaledition.com
ScoreStore (ScoreStore Music Ltd): Wise (Wise Publications): c/o Music Sales Ltd
T+44 (0)118 976 2020; www.scorestore.co.uk Yorktown (Yorktown): c/o Music Sales Ltd
83
Back to contents
Trinity publications
Keyboard Books Supporting repertoire and excercise books for the Electronic Keyboard
Syllabus 20152018
Electronic Keyboard Pieces & Technical Work 20152018 Initial TCL 013293
Electronic Keyboard Pieces & Technical Work 20152018 Grade 1 TCL 013309
Electronic Keyboard Pieces & Technical Work from 2013 Grade 6 TG 009326
Keyboard CDs Electronic Keyboard Pieces & Exercises 20152018 InitialGrade 3 TCL 013644
Electronic Keyboard Pieces & Exercises 20152018 Grades 4 & 5 TCL 013651
Aural Tests Trinity College London Aural Tests from 2007: In two volumes, Initial to
Grade 5 and Grade 6 to Grade 8, each with CD, containing sample tests for
the Aural section of the exam. With explanations, sample answers and advice
on completing the tests.
Sight Reading The Sound at Sight series gives full instructions and practice materials for
preparation for the sight reading tests. Sound at Sight Electronic Keyboard is
available in one volume, InitialGrade 5.
Keyboard Repertoire The following joint Trinity Faber publications are also available:
Electronic Keyboard Collection: InitialGrade 1 0 571 52221 1
Electronic Keyboard Collection: Grades 12 0 571 52353 6
Electronic Keyboard Collection: Grades 23 0 571 52354 4
Electronic Organ Books Trinity repertoire books are available as follows:

Electronic Organ World book 1: InitialGrade 3 TCL 621016
Electronic Organ World book 2: Grades 46 TCL 621023
Electronic Organ World book 3: Grades 78 TCL 621030
All Trinity College London publications are available from your local music shop or
from www.trinitycollege.com/shop
84
Back to contents
Notes
Notes
85
Back to contents
Notes
Notes
86
Back to contents

Keyboard Syllabus 2015-18 PDF

Hochgeladen von

Dokumentinformationen

Originaltitel

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Keyboard Syllabus 2015-18 PDF

Hochgeladen von

Copyright:

Verfügbare Formate

Electronic Keyboard

& Organ Syllabus

Trinity College London

Why take a Trinity graded exam?....................................................................... 4

About the exam................................................................................................................ 6

Electronic keyboard glossary of chords.........................................................................12

Mark scheme for pieces.......................................................................................................14

Information and regulations..................................................................................78

RQF* EQF** Classical Rock Theory Music Solo Group

* Regulated Qualifications Framework in England, Not RQF or EQF accredited

Technical work* 14 Technical work* 14

Overall mark Band

Level Exam duration (minutes)

Music and copies

Electronic keyboard glossary of chords

C7(b5) C C7 C& C9 C'9 C9

C7(#5) C7(b9) C4 C2 C7(b5) C/G

Candidates should note that:

Durations and compositional brief for own composition

Grade Duration Requirements

Grade 1 1.52.5 A piece containing sudden dynamic contrast

Grade 2 1.52.5 A piece contrasting legato and staccato passages

Grade 6 3.54.5 A piece containing use of the pitch bend function

Grade 7 3.54.5 A piece featuring legato 3rds in the right hand

Durations and compositional brief for own composition Grade 68 organ

Grade Duration Requirements

Grade 7 3.54.5 A piece featuring octaves in both hands

Grade 8 4.55.5 A piece featuring at least two contrapuntal voices

Mark scheme for pieces

The three components are as follows:

Total mark for each piece Band

scales and chord knowledge

Scales and chord knowledge should be performed:

on a piano voice

Electronic organ and organ

Sight reading parameters for electronic keyboard

Grade Keys Time Chords Note Dynamics Other

minor 7th chords

major 7th chords

* Tests may also include requirements from preceding grades.

G major; remains within

F major; andante and

any common full use of use of swell pedal;

* Tests may also include requirements from preceding grades.

C major, G major, remains within

moderato and single manual;

D and Bb major; notes between F2

full use of pedals

B andDb major; ! and

Grade Parameters Task Response

Listen to the melody Clap the pulse on the third playing,

melody only i) Identify the dynamic as forte or piano

Listen to the melody Clap the pulse on the third playing,

Grade Parameters Task Response

Clap the pulse on the second playing,

i) Identify the tonality as major

4 or 6 Study a copy of the melody

i) Clap the pulse on the second playing,

i) Identify the changing tonality

Study a copy of the piece, and

Grade Parameters Task Response

i) Identify the time signature

Identify and comment on two other

* Regulated Qualifications Framework in England, Not RQF or EQF accredited

on a piano voice

Listen to the melody Clap the pulse on the third playing,

Listen to the melody Clap the pulse on the third playing,

i) Identify the tonality as major

4 or 6 Study a copy of the melody

i) Clap the pulse on the second playing,

i) Identify the changing tonality

Study a copy of the piece, and

i) Identify the time signature

Study a copy of the

i) Identify the time signature

Study a copy of the

i) Identify the time signature

2, 3, 4, 6 or 5 Study a copy of the